The work is a visual and interactive adaptation of Dimitris Dimitriadis’ theatre play Kenosis (gr: εκκένωση). According to the writer, this play approaches “the borderline situation of today’s world, through the mythical Atredai family”.
This installation is the orchestral percussion providing a rhythmic foundation to the manic ensemble, emphasizing on the pulse, filling in for the missing punctuation. When literature is turned into performance two chronotopes, world views and rhythms are intertwining, conversing or clashing on site, that of the original literary resource and that of the actual play, generating a third entity that can be seen as a composite.
My visual translation of this notion was a composite of units functioning codependent together in an endless loop. The audience choses when they begin their dance and how and they have to follow. Without a choice and without a possible escape plan. It’s a machine, whose function is representative of the intertwined beginnings and endings as a repetitive ritual. The units are connected to each other and the whole is a contraption with its own choreography. Each unit is built to play the same tune and make the same elliptical movement. The only thing that can be influenced is the tempo. The performance only exists once the crank is set into motion and this is dictated by the presence of an audience.
"Η αιωνιότητα των ξαναρχινισμένων επαναλήψεων"
(the perpetuity of the recommenced repetitions)
Academy of Fine Arts, Vienna
...a contraption with its own choreography,
a theatre machine
an assembly line,
a puppet master,
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