On stage, we see a sculptor creating a sculptural piece in real time while exterior elements – handled by the actors – contaminate, frame, document, interfere, prevent, enhance or simply create plans parallel to the action. The execution of this sculpture not only constitutes the core of the show but also invades, disturbs, praises, calms or questions it. Whether through the noise, the demanding technical needs, the formal challenge he proposes or the dialogue he can establish with the actors, the sculptor and his materials assume a theatrical and visual game enabling a new review of the relationship between the one who makes the work, the created object and everything that feeds and destabilizes its conception. The mystery that surrounds the creation of a sculpture arouses the curiosity of the actors who try to understand, or want to test the limits of the impetus of the artist who builds it.<\/p>\n
And all this, one could say, consists of an idea of \u200b\u200btheater that these actors, as part of a collective, intend to reflect: creation as a \u201crecreation\u201d, a space for freedom and experimentation; the show itself as a creative, raw, living process that escapes the control of each performer\/creator, in permanent evolution, as opposed to the idea of \u200b\u200ba finished work, defined and complete in detail, built from an external and unidirectional look.<\/p>\n
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