How Ulrich Gottlieb Uses Physical Theatre to Bridge and Heal Communities

Ulrich Gottlieb, a multidisciplinary artist born in Germany, lives in Vienna and Bangkok. His form of physical theatre touches and involves the audience. With #touch, he places himself as a sculpture in public space and gets painted, responding to light, touch, and colour like a mythical creature. In this performance, the gravity field is a living canvas. The multi-layered dynamics that the living canvas brings forth engage the audience to be participants as well. Touched and painted by the audience, the artist improvises a poetic mixture of movements in this sculptural performance. Concealing the performing body with textiles, people are invited to make painting marks directly onto the living canvas, instigating its changing movements and shapes on the canvas landscape. The created work gets re-touched and completed by the artist. A very contemporary approach to visual art and a new form of art education as well. FAB L’Style Team sat with the art icon to explore his work and artistic choices.

FAB: What draws you to physical theatre as a medium of expression?

Ulrich Gottlieb: My journey into physical theatre began quite simply, out of a natural curiosity and love for movement. Naturally, I am someone who enjoys being active, and this inclination led me to explore movement as a form of expression. It wasn’t something I overthought; I just knew I wanted to connect with people, and movement seemed like the most natural way for me to do so. When I was younger, I initially tried acting, but I wasn’t very confident in my language skills. I felt much more at ease expressing myself through movement, so that’s where I focused my energy.

For me, movement is more than just a physical act; it’s an adventure. In today’s world, true adventures are rare. I define an adventure as embarking on a journey without knowing the destination and being open to discoveries along the way. You’ll face surprises, challenges, and obstacles, but that’s what makes it exciting. This sense of adventure mirrors life itself.

Life isn’t about always being safe and secure; it’s about being curious and embracing the unknown. Yes, there are risks, but that’s what makes it interesting. For instance, during our performances, I cannot control how people will paint it because I cannot see it. Also, they cannot see what I am doing inside. Both sides have no control over the process. It is about having no control. It is about trust. It is more joyful, it is more life.

I believe that when we approach life with good intentions and a positive spirit, bad things are less likely to happen. With faith in yourself and a joyful attitude, you can embark on any adventure. Life is a rollercoaster, a journey where control is limited, and that’s what makes it beautiful. Trusting the process adds to the joy and richness of life.

FAB: You describe physical theatre as “physical poetry” and a “silent sea opera.” Could you elaborate on these expressions and explain how you convey emotions and narratives without words?

Ulrich Gottlieb: To me, physical poetry is about exploring the language of the body. Each person has their own unique “body signature,” and my work involves translating this physical expression into a form of poetry. It’s a blend of movement, language, and sometimes even visual art. I aim to discover the poetry inherent in life and express it through the body. When I refer to physical lyrics, I’m talking about a fusion of movement, text, and other mediums, creating a dialogue between spoken language and body language. The result is what I call physical poetry—an intricate dance of communication where the body becomes the primary instrument for storytelling.

FAB: How do you perceive the body as a tool for storytelling?

Ulrich Gottlieb: The body is constantly telling a story, even in the smallest of movements. When I conduct workshops or seminars, I often use a simple exercise: I ask participants to sit on the floor and then slowly stand up without using their hands. This task may seem trivial, but it reveals so much. Some people struggle, while others find it easy, and in that struggle or ease, a story of life already unfolds. The body’s movements, whether deliberate or unconscious, carry a narrative. The key is to start with simple, natural movements before progressing to more complex ones. In physical theatre, the body can function as a mime, a dancer, or simply as itself, emphasising the physicality of the story being told. Every movement, no matter how small, contributes to the story.

FAB: You mentioned that if you truly feel the movement, the audience will feel it too. Could you elaborate on that?

Ulrich Gottlieb: When I genuinely connect with what I’m doing, the audience will naturally feel it as well. Even if the movement is abstract, people will sense something because, inherently, we are all connected. This connection proves that we are all attuned to emotional and physical experiences. It’s not just about being intellectual; it’s about balancing intellect with emotion. Since our experiences are deeply tied to our physicality, the body, with its movements and stillness, forms the core of my work.

FAB: Your work often explores the themes of contact and fusion. What do these themes signify for you, and how do they reflect the human experience?

Ulrich Gottlieb: At first, it associates me with humanity, but not only humanity; it connects me to the world, but that’s abstract. As we know, there’s a lot of perversion and a lot of things going on, and it is very crucial to reconnect and emphasise more than ever before the importance of connection, collaboration, and community. It’s about maintaining the connection between people and cultures. That’s the idea. That’s what it reflects. 

FAB: What are some of the most significant challenges you’ve faced while preparing for a performance?

Ulrich Gottlieb: One challenge is maintaining awareness of the risks involved. Initially, I might be concerned about potential problems, but as I dive into the work, I focus more on the process itself. I believe that failing is part of the journey, and it’s essential to embrace that possibility. For me, the excitement comes from the process rather than the risks.

FAB: Considering your experience teaching at various international institutions, how do you balance your role as an educator with your practice as an artist?

Ulrich Gottlieb: Teaching at different universities and international schools involves a mix of theory and practice. I incorporate theoretical concepts and metaphors into my lectures, but it’s crucial for me to remain engaged in practical, hands-on experience. I think that practice is very essential. Out of the practice comes the experience. The practice comes first. If there is a theory or an idea, let’s say we start to research that aspect in practice. My lectures are built on real-life practice and experiences, and I balance this with ongoing physical practice. While I focus on Europe and Asia for now, I am eager to expand my reach further.

FAB: Your performances are known for evoking deep emotional responses. How do you access these emotions during your creative process?

Ulrich Gottlieb: The key to tapping into emotions lies in physicality. All our emotions stem from the body—they’re inherently linked to our physical being. When we experience a feeling, there’s a corresponding physical response that brings that emotion to life. This is why my practice emphasises preparing both the body and mind for expression. It requires rigorous physical training and exercise. In acting schools, for instance, there should be a stronger focus on physicality because, without the body, there can be no acting. The body is the foundation—it’s organic, sensual, and spiritual. Everything we are made of connects back to the body. Additionally, our physical bodies hold memories; all of our life experiences are stored not just in our minds but in our bodies, down to every cell. I’ve spent years researching this, and I teach others how to connect with and unlock this potential.

FAB: How do you see physicality, or physical theatre and performance art, serving as tools for personal and communal healing, especially in the context of the diverse audiences at the Afrique festival?

Ulrich Gottlieb: Physicality, particularly through body language, is indeed a powerful tool for healing. Body language acts as a universal language, breaking the limitations often found in verbal communication. For instance, when you and I speak different languages, there’s potential for misunderstandings. However, when we incorporate body language, we tap into a deeper level of connection—one that isn’t reliant on intellectual understanding but rather on feeling. This makes body language a crucial bridge between different languages and cultures. It serves as a foundational form of communication that connects people on a fundamental level, fostering collaboration and energising communities for collective projects and goals. While body language also has the power to be destructive, our focus here is on its healing potential. When used with positive intentions, it supports and strengthens communities, helping them to come together rather than fall apart.

FAB: What core message of philosophy drives your work as an artist?

Ulrich Gottlieb: When a door is closed, it could be places, countries, or cultures; when they close the door, I open the door. For me, it’s about opening doors. Opening potentials. We have performance art, we have visual art, and there is a third category we call opening art. It is about opening potential and opening doors. You close the door, and I open the door again. Opening doors is also about expanding consciousness. I never thought about the legacy I want to leave behind because I am very involved in the process of now. The legacy always happens when I do my art, and I see how people respond to it and how it resonates with them. For me, that’s good enough. Stay up to date on the latest in fashion, arts, beauty, and lifestyle by following FAB L’Style Magazine.