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Running Sushi

Sequential Performance

The glance into the Zen philosophy of a Manga household.

Liquid Loft is looking for the path of the Samurai on stage, Feng Shui is exercised in cyberspace and chopstick high-jumping carries the performers into the classical Pas de Deux.
Photos: Chris Haring, Michael Loizenbauer

Running Sushi is not narrated in a linear way or on a predefined timeline; rather, the screenplay is split up in different scenes. Like in a Running Sushi restaurant - where the guest chooses bits and pieces - the members of the audience define the sequence and order of the 12 scenes.  Through this system, the audience every evening creates a new story board. Yet, the “Pulp Fiction” effect remains, shaping the story - independent of the sequence of scenes - in the mind of the spectator. Thus, Running Sushi is raising the question of how we perceive performance and dance nowadays.
 
The experience and “reality” of communication are shifting increasingly towards a two-dimensional, picture-like surface. The term “superflat”, coined in Japan mainly by Takashi Murakami, not only describes the comic or Manga as a form of communication, but also characterizes it as a conceptually leveling society of the post-post modern world.

An image has copied and advanced itself here, in order to return to its own, two-dimensional reality. The performance resembles the image sequence of a Manga figure, trying to re-animate its private idyll, which has become senseless, in order to write a possible storyboard for a future existence on-screen.


Video: Michael Loizenbauer