"Abode where lost bodies roam each searching for its lost one. Vast enough for search to be in vain. Narrow enough for flight to be in vain. Inside a flattened cylinder fifty metres round and eighteen high for the sake of harmony. The light. Its dimness. One body par square metre or two hundred bodies in all round numbers. If they recognize each other it does not appear. Whatever it is they are searching for it is not that”.
Samuel Beckett, The lost Ones.
The first part of the trilogy, Wavering Abode, freely takes inspiration from The Lost Ones. This short text describes the interior of a closed cylinder in which "bodies" spend time, occupied by a continuous and undefined search. Here, Beckett works on the principle of a "laboratory setting", observation to the point of exhaustion of variations on a given situation. The image that comes out of this is of a crowd that can only find salvation in profound solitude.
On stage, a body works its way out of a black, dusty matter. A low, raking light allows a woman to emerge while in composition, like a golem seeking its own form. The environment, regularly run through with variations in sound and light, predicts a system governed by the unchanging repetition of these variations. Similarly, the body is regularly subjected to it: its movement, its states of immobility, rest and revolt, unceasingly follow the pace of this ecosystem. How can this body assert itself and find its place when faced with such a hostile environment ?
> About the trilogy
Concept, set design and direction
Monia Montali & Francois Bodeux
Performance and creation
With the support of
BudaKortrijk, Wp Zimmer, Pianofabriek