Ping Pong is a movement study of ping pong and other bodies. The physical properties of the object, as well as principles of kinetics and dynamics, are used to compose movement on stage. The body of an object takes the place of the performer. Despite the constant replacement of the subject on stage, different narratives and performative strategies are recognised, leading to an attempt to reveal some of the aesthetic and dramaturgic codes, which are inherent in choreography. Ping Pong was co-produced by Bimeras.

_ First approach


A movement study of ping pong balls and other objects… It’s an attempt to replace the human body with the body of an object, and, by doing so, bringing principles of kinetics and dynamics into the foreground of attention. It is an attempt at disembodiment. It is an attempt at working consciously with the aesthetics that underlie compositional decisions.


A dramaturgical study of the movement of ping pong balls… It is an attempt to elaborate some possibilities of meaning that can be produced regarding a single scene. It is an attempt at stretching out the drama potential of the movement of ping pong balls on stage.


An architectural study of points in space… It is an attempt at tagging points in space through ping pong balls and using their sensitivity to movement as sensors to react. It is an attempt to create a body image that extends into and affects the space. It is an attempt to create a spatial image that perceives input and transforms. It is an attempt to compose with the still ball as a point and the moving ball as a line on stage.

_Second approach

A game is defined through potentialities, which underlie it and haunt what is being actualized in any moment. At the point the game would reach the end of its potentialities, it would cease to exist.

 It is possible for a movement composition of ping pong balls to be considered a choreographic study, if we overlook the fact that the intentions of the choreographer/performer/writer are rarely actualized. It is not possible to control movement beyond the point of initiation. The choreographic score exists as pure potentiality.

The piece was premiered on December 2, 2009 in Kampnagel Hamburg (DE)

Choreography: Begüm Erciyas (TR)
Performers: Jenny Beyer (SE), Sigurdur Arent Jonsson (IS)
Music: Jetzmann
Light: H. W. Ahrens
Production Assistant: Rosa Wernecke
Mentoring: Matthias Quabbe, Marcus Dross, Bojana Kunst

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