What you have in front of you is what it is. What can you do that is performative in a dynamic sense, while avoiding symbolism, evocation, or even simple associations with something not materially present? At what moment could you tell that something has started to happen? If you render a gesture as unintentional as possible, would it still lead to drama? How can you resist associating meaning to a performed action, this itself using the performing process to activate a detachment in the audience’s usual perceptions?
Two operators perform repetitive sequences of movements, elementary and unintentional actions of daily life, gradually intensifying from invisible to saturated, following meticulously the instructions of an MP3 player. A third performer, aside, speaks three other instructions of movement into a microphone, instructions based on physical disorders of movement, repetitively, following a written score. The two operators have to follow that second line of action as well as the first one. All three performers start the action by synchronizing their players and metronome. It lasts five minutes. As soon as the performance is finished, it can be proposed to two volunteers of the audience to take the MP3 players and perform the same thing straight away.