God exists, the Mother is present, but they no longer care

The Norwegian-Iranian choreographer Hooman Sharifi found the long title of his new full-length performance in Roland Barthes’ Fragments d’un discours amoureux. Other sources of writing that have been integrated into the performance included Peter Handke’s Kaspar, Hannah Arendt's On voilence and extracts from the work of Friedrich Nietzsche.

It was from this material that the first impulse for this creation emerged: the relationship between text and movement and especially ‘the act of reading’ are examined in a series of variations and situations. For the spectator, the use of words always leads to a more precisely defined meaning than the use of movement.

Four dancers and an overhead projector enter into dialogue with the audience, which is invited to read the projected texts and to make use of the meaning derived from this reading in the way they watch.