FLUSH relies on a highly technical, articulate and stylized composition drawing on the formal ordering principles of juxtaposition, simultaneity, multiplicity and repetition
FLUSH unfolds in a reduced set-up: 3 performers on a stage, framed by a series of 5 wall elements. It is based on a carefully assembled movement vocabulary that takes inspiration from ubiquitous video-editing techniques. It combines the laborious task of performing live slow motion, rewind, fast edits and endless repetitions with the considered exploration of composition and non-linear narration in order to create a ‘landscape play’ coined in 1935 by Gertrude Stein.
FLUSH relies on a highly technical, articulate and stylized composition drawing on the formal ordering principles of juxtaposition, simultaneity, multiplicity and repetition also to be found in the ‘plays’ from Stein. It is a study on radical temporaries and illogical intimacies that proposes various articulations and modes of temporality, even going as far to evoke a lesbian time / aesthetic.
Bodies, temporal and physical manifestations will be the explicit material in the construction of the landscapes. With a strong emphasis on the quotidian FLUSH wrestles with the impossibility of stopping time in order to simultaneously move it to see everything that is there behind a gesture, form the mundane to the spectacle. FLUSH makes apparent the tiny details that are hidden in situations, the ambivalences and notions between actions, subtexts, the hesitations and irruptions.
Photos: ©Michiel Keuper