Inouï

The location is an apartment, quite bare and quite ordinary, so anyone can feel at home here. Certain shapes and objects point to the function and atmosphere of the place – shapes and objects whose actual appearance has been eradicated from memory.

The setting is an apartment, bare and ordinary enough for “any one” to imagine as their own. We see objects and shapes evoking the function and atmosphere of the space, objects and shapes whose exact appearance has been erased from memory. It is a space void of all pretence of either realism or theatre, that invites the audience to look into, rather than at it. It is a space cleared to make room for a dream. Not a dream as in a surreal image, allusion or metaphor, but rather, a virtual space of representability, without representations.

“Inouï” takes us through different thresholds of consciousness, an experience intensified by soundscapes and light filters altering textures, skin and tactile surfaces. A space where distance and depth create short-circuits in both objective and subjective reality. The audience experiences the indescribable and incomparable immanent presence of all things: is this the absence of self? Or the self’s full presence? A wave of raw experience, like rediscovering sight or sound. It is both a fable and a dance of disparate elements woven together by the mind. One by one and one to one, seven dancers separate and join together. Bodies, eyes, voices, halts, breaths, almost unseen, almost unheard. INOUI is a sight never seen, INOUI is NU (naked), is UN (one) is NOUS (us) is OUI (yes)….