MY HOME IS MY MATRIX – THE PROCESS HAS STARTED - PLEASE WAIT


In Franz Kafka’s THE TRIAL, 1n0ut found a world full of loops, repeats, instructions and protocols which are familiar parts of every computer programme. This classic text becomes the springboard for a stereoscopic real-time dance theatre piece. The images of the performers are gathered digitally, manipulated and remixed live to plunge an audience each wearing 3D cinema glasses headlong into a thrilling and disturbing illusory world. What steers mankind, what goes, what is lie, what is the logic of the absurd and what the illogicality of reality?

A remarkable adventure, which discovers new forms of expression to question the nature of reality and personal identity.

One day Josef K. awakes and his breakfast is not ready, instead, he is arrested and charged with an unnamed crime and ends up in the hands of a surreal judiciary.
Kafka’s masterpiece “The Process” tells the parable story of mankind in his many entwined facets, without defense, without judge, a pinch of love, few friends and no God. Death and the end of the book are the only things Josef K. can be certain of, these are preceded by recursive loops, repetitions and instructions from defined protocols, like in every computer program, and like in all of our lives

One can imagine the piece as follows: Josef K. enters and is recorded and digitalized in real-time by 2 cameras (stereoscopic recording) and a microphone. He walks to the center of the stage and asks himself the question out loud, what might be keeping his breakfast, (pause) and why his landlord is late, he walks two steps to the side and stays put. Meanwhile the recorded audio-visual material is replayed and the questions sound anew, and the real character stands face to face with his virtually recorded 3D stereo clone. He answers his questions, sewing doubt with phrases such as that she probably overslept, etc. A monolog forms a physical dialog.

In this piece motion (dance) and spoken text fragments reoccur virtually in a ghost-like manor and interact with the real actors. The dancers dance with themselves and sometimes with other virtual clones. The virtual characters leave traces that disappear less and less. A dismantling of the linear storytelling begins and the audience becomes confused.
The piece becomes more and more compressed and keeps overlapping until salvation is found in a staccato of audio-visual stimulations and finally ends with a system crash, like the original book ends with death.