In the Brunswick Centre two apartment complexes rise away from a central concrete concourse, where initially there were few shops and vast areas of empty space. It was an area to pass through, not to use. (The Fall of Public Man, by Richard Sennett, 1974) A materially raw architecture may impose transits in public spaces. Correspondingly, a void public space, such as the plain stage, may not favour any other use than passing by. The performers decide to use calculated internal relations, randomness as well as mutual looks, motions and states in order to arrive a point where a constant interchange between the formal/public and the informal/private person takes place through constant navigation in the bare performative space. Uniformity and abstraction assist the appearance of personhood.

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