Orfeus

In our staging we let ourselves be freely inspired by the legend of Orpheus. We build two important moments into the linear narrative. The first is whether we should look to the past in life. Whether we are not constricted by clinging to the past and preventing us from entering into new relationships.

The second moment for us is the descent into the underworld, which means for us penetration into our innermost being. In which we literally look at ourselves and our lives. Which we can embody very suggestively in the case of Jiří and Otto. In a realm where death is present, there is also life. It is the world of men, an impenetrable forest, and the world beneath its roots. And it is also the place of a new encounter with a woman who played an important role in our lives. It is the return to the house that holds our memories. Our descent into this realm is a mediation, without which one cannot go back and forward. That's just the immovable point in the world.

In this rigid point of the world that otherwise turns. Not bodily, not even bodiless and without a where from and without a where to. In that immovable point, there is the dance, neither stopping nor moving. Neither a movement from anywhere nor to anywhere and neither an ascent nor a descent. Up to this point, the immovable point, there would be no dance, and it's just that dance.