We began this New Creation by generating an archive, trusting that by capturing what we were doing we could then looked at it, and find clues that could tell us what to build from there on. Every time we made a new dance we recorded it, and we projected on the background the recording of the previous one. The scenic device we developed is a possible materialization of a movement of time. Images invite us to browse back and forward in time, like a mise en abyme or a temporal tunnel that reveals what recurs and what varies, unraveling the construction of the piece.
The more we record, the more we replicate ourselves and the more we multiply ourselves, running the risk of confusing image and reality. Filming is trying to survive, but it is also showing a death. For that, we need to constantly reformulate, because we need to go on. Don’t we?