"Susanne Kennedy, what can this 2,500-year-old
theatre ritual right now bring forth?"

"Let our bodies burst into thousands of fragments and then remake itself. Let us become something else, let us become woman, animal, plant, machine, molecular. The theatre can be an ideal place to start with. On stage we can watch people change into different states and beings. The theatre - as all art - offers us a playground for experimentation. I see a theatre where the voice no longer belongs to the body, the face is no longer the conveyor of emotion, the body no longer belongs to the „I“ on stage. The text no longer represents a story and the actor is moving joyously between all different states of being, leading the spectator into unknown zones where he himself doesn’t dare to go yet. In the end the actor becomes imperceptible. Maybe the theatre can be a space where we can practice our own „becoming imperceptible“ through the beings on stage. I see a theatre where the protagonist no longer exists and the stage where he used to stand in the center of it all, is filled with other beings - human and non-human. They speak with voices and faces that are not their own. They communicate in languages we have yet to learn.

One of the most moving performances I ever saw was Romeo Castellucci’s Rite of Spring, where there where only machines on stage who were dancing to the music of Stravinsky. They moved in a kind of ballet and sprinkled white powder on stage. The powder was an industrially-made one taken from ground-up bones, used as fertilizer. Maybe this state of imperceptibility is a specific kind of bliss: the ultimate getting rid of ourselves. Maybe this offers us a chance to arrive in the midst of the creative power of Life itself. What seems like the ultimate paradox: losing oneself to (re)connect with life. This is not an easy concept to grasp for us. In fact it is not a concept at all and there is nothing you can grasp. You have to do it, experience it, practice it, experiment with it."

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