Throughout time and across cultures song and dance have been tied to the notions of spirit possession. Engaged by movement and sound the body can become a conduit of spiritual transition and transformation serving as a medium through which a spirit may enter or leave. This interstitial space created by the transmigratory spirit opens up new channels within the host body. The performance takes its name from the 1937 Michał Waszyński film “Der Dybbuk” which tells the story of a Jewish bride possessed by the spirit of her true love on the eve of her arranged wedding. Only by becoming possessed was Leah able to reveal her desires and reject her imposed fate. By reclaiming her agency through the spirit within her she was able to break free from the cultural norms to which she was bound. Der Dybbuk explores spirit possession as a multiplication of self. Drawing elements from flamenco and somatic practices, performance communicates the dynamic interplay of the layers of being. The use of video adds another dimension to the multiplicity of the inner experience and acts as an additional presence on stage. The piece was accompanied by the Leipziger Synagogalchor.

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