The Play of Daniel
Inspired by Michael Popps ensemble for early music ESTAMPIE, Jörg Lensing created an exiting five-parter, within which indian dance, oriental sound and Gregorian singing are artistically combined. It is played upon a stage in the space of the altar. Wrapped in an indulgent mystery and with velvet costumes of the supple stylised dancers, the others dressed as travelling entertainers. (...) Secret handsigns and gestures, the following extremely stylised templ-dance, the thunderous drum work and the cheeping side instruments - all this reminds one of Great World Theatre.

Neue Rhein Zeitung
Glaringly made-up, robed in magnificant colour the dance barefoot on the boarded podium, and upon whose side-wall the stage-designer has painted a picture story fresco.
(...) connecting these forms to fascinating theatre, that with music and dance, with singing and Mudras to tell the tale. The Mudras are a sign language of the hand. With this, between the acts, the performers wildly gesticulate, commend and parody what has happened on stage - from the angel ofthe people -, that the ecclesiastical were not to be trusted. Therefore, the piece contains a tongue-in-cheek dimension. A sparkling idea too is to leave Daniel to the play the lions. Also, when Habakuk is taken by the ear from an angel to support Daniel, that is already half the rescue.

Westdeutsche Zeitung
In fact, the piece can be magically relaxing, almost meditative when the viewer allows the pictures and the singing to take over and doesn't try to understand every gesture. The solid ritvalised from the play is harmonised by the artificial direction of the director; the performers dance a very reduced ballett. They develop a subtle humour white discovering a sign language for the figures "which is inspired by Indian dance-forms".

Place oneself before Eygiptian wall paintings and hieroglypics, suddendly they begin to breath as figures from ancient Babylon step out of their pictures. (...) Without words, but conveying exotic gracefulness, exeedingly fascinating gestures whose precise elegance almost cuts into once consciousness. And a extremely strange, almost puppet-like stareing, jerky mimic, inrtimidating symmetry, worked with a riveting effect.

A fascinating theatraical experience: As a ritual, a drama in five scenes on a stage - a wodden platform in the style of a Middel-age wandering troupe. With a backdrop that the course of events are told in single pictures as a fresco-like comic and stamping dance movements of the barefoot performers like Spanish flamenco castanets effectively emphasised. Leir and lute, gongs, bells and cymbals, flute and portative accompany the pantomimish and Indian temple-dance gesticulation the nine performers being magnificiantly robed as if from the "one thousend and one nights". Between the scenes worldly "entertainers" appear, comment and explain what has happened in a more relaxed manner and with evident modern relationships.

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