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The
iconic perspective. We believe in the perspective
of the east world icons, and dismiss the traditional central perspective,
taken from the western art history. All the images, stage designs,
etc. we use is primary a projection of the audiences hearts; like
a collective dream we project on the theatre stage.
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The
belief in existing collective dreams. We believe in
the “revealing” of collective dreams of today and tomorrow,
and employ these dreams in all elements of theatre; mainly in text,
but also in symbols, images and music.
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The
use of private dreams as well. The private dreams we
collect says everything of the private sphere, its intimacy and
its forgotten needs.
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The
use of archetypal images. The dreams we are “conjuring”
are archetypal. They are static and beyond any moderns elements
of today, and they deal with man beyond time and beyond any specific
culture.
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The
use of symbols. The costumes, the light, the scenery,
are all works with the bright colours of symbols. The language of
symbols is a language for the stage that support our understanding
of the collective dreams we are working with.
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The
use of allegories. As with symbols, allegories helps
us see the hidden aspects of life.
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The
belief in the rituals of religion. We believe that
the religious rituals of the world religions, are the primary and
premier theatre - and we borrow from religion whenever needed.
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The
absence of a linear drama. We totally dismiss the linear
drama and its logic handle of any human problems.
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The
direct contact with the audience. We totally dismiss
the “fourth wall” in theatre. When not addressing the
audience directly, we make it very clear that what they are watching
takes place here and now.
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The
use of separate scenes. We use the dramaturgy of thematic,
separate scenes. The use of different scenes clarifies our theatre.
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The
use of a “high” language. We believe in a
sacred, poetic and fixed language, which with its mere style proclaims
the existence of a “secret world”. A contrasting “low”
language may be used in order to balance and support the high language.
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The
bodily gravitation of the actors. The physical body
of the actor is his most important tool, and multiple actors “gravitate”
round each other, this is what breaks the silence and allow for
words to be spoken.
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The
musical interval. Drama and language is music. And
there is always a presence of music in our high language.
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The
repetition of text, image and scene. Like in repeating
dreams, repetition makes us listen once more, convincing us that
what we see and hear is not an illusion, but very real.
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The
focus on objects. Objects and simple things are the
best tools for the projection of symbols and allegories.
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The
children/audience. Address the adult audience as small
children; very clear, simple and unsentimental. “The world
is a children’s game, and we still have a lot to learn about
everything about reality.”