These images are fragments of the same research: a practice of portable dramaturgy made from ordinary objects and calibrated gestures. I moved through scenes as both spectator and actionist—watching how attention is built, then testing it with my own body, without narrative pressure, without theatrical excess. For Decadröm (2026) I’m developing ten short “dröms” (dream-units): autonomous situations where the stage behaves like architecture—thresholds, frames, gaps, angles—and the body negotiates that geometry through restraint, repetition, and pause. The hat, the yellow cloth/bag, the suitcase, the chairs: they are not props but indexes of passage, rehearsal, and memory. The work insists on a “no-drama” intensity: presence over performance, composition over spectacle. What remains is a liminal choreography—between public space and white room, between carrying and letting go—where the everyday becomes ceremonial through precise arrangement and duration.
