STÖRLAUT

Sober dance as an antidote for fake news

In times of 'fake news' and 'post truth' Jule Flierl is looking for a language without words – physical, emotional and direct. A 'Störlaut', a disturbing and irritating sound, refuses to produce meaning. The vocal dance performance Flierl makes with it is based on the 'sound dances' of Valeska Gert. This pioneer of the performance art manifested himself in the Berlin of the 20ies and would pave the way for the punk movement. In STÖRLAUT Jule Flierl remixes the revolutionary work of Gert into a penetrating contemporary piece. By means of singing, crunching, roaring,stuttering and yawning she questions the unity of our body and the univocality of our language. Flierl manipulates her voice to extremes and totally reverses the casualness with which we communicate.

Flierl worked as a go-go dancer in a Turkish gay bar, played the female leading part in the German film Führer Ex and studied contemporary dance in Salzburg. In 2015 she finished her choreography studies in Montpellier where she intensified her investigation into the voice of the dancer.

The vocal dances of Jule Flierl connect and disconnect the voice from

the moving body. With the help of somatic voice and dance methods she creates monstrous, cyborglike sound bodies. In the past she showed her self-willed voice dances in the solo OPERATION ORPHEUS, after the known mythical story of Orpheus and Eurydike, which was performed in France, Germany, Poland, Austria and Iran. 

Recently she gave the lecture performance I INTEND TO SING at the Sophiensaele in Berlin, in which she shared her insights into the use of voice in dance. To what extent is the voice connected to its body ? When does the voice itself become an object ? Flierl studies the voice in dance both as a form of political empowerment, a tool for transhistoric interaction and a way to expand dance to the invisible.