We searched the memory of ancient tragedy in us.
The most tangible samples of representation from ancient Greece are the sculptures. We found the idea of a living statue interesting. In an attempt to integrate our concept into the performance we chose the most essential material in sculpture, the clay. Clay is a living material. We watched all its stages. From liquid it becomes solid. From a whole mass that covers the body, it breaks creating smaller and larger cracks and ends up getting torn off along the recollection of the story, leaving a few traces on the numb skin.
The background of the performance had to be simple and allow the actor to interact with it. For this reason we chose a versatile material in terms of dimension. The basic idea was to create a spot in the world that we set, where the dramatic personae could be presented.
We chose the shape of the circle and set in the centre of it the divine symbol of the play, the ∞ (infinite). Every character of the play is presented within this area. The chorus appears through a music and sound equipment installation. The messengers appear in a larger circle defined by light.”