Beginning through a novel premise: there is a figure who is bound by the theatrical stage. An actor, an orator, an extra, a prop, a body, a subject framed by a proscenium existing between the dressing room and its curtain. Isolated, they have been sequestered to perform, to enact specific scenes, recite the given scripts, becoming a stand-in under an unknown agency in a theatre absent of any spectators. As if rehearsing for a play that will never open, waiting for a director’s cue that may never arrive, or facing a curtain that shouldn’t be raised, this dramatic world is all the performer knows. 

Dressed with a disidentification, the subject's interiority is established through their absences. With each act further hollowing out their subjectivity, to be oneself less, a character of gradual corrosion, yet, unable to fully withdraw. When the subject's body is corpse or carted away, its presence still violates the status of its surroundings. As traces remain when they are replaced, reinstated, reified, or dissipated into the background. The subject’s lack is exposed, spilling on stage and resubjectivized by the looming void from the vacated audience and the undisclosed rule, to inscribe itself as an antagonist mise-en-scène. Divorcing the actor’s world to hold existence without clear destinations, they are paused in impasse, posed in a perpetual ending that will never be, an endless end. Scenes echoing an external world have become truncated, transgressed into rarefied sites of exception. Provocative of an unreconciled world, a setting where vacancy as disparity acts as a suspension, a cutting redolent of a change of rule, an unraveling of an ideology, or the law of the land becoming dormant. Analogous to an unceasing intermission, when an interval is established as its own play, another drama interrupts and takes over.

What remains, what is residual, is evidence. Released material of illegitimate posters, apparent scripts or indictment reports, divisions of scenography, relinquished props, seized photographs, private audio and film recordings. Documentation of the extra-juridical, which alone serves to distance us from the original events. A denial to the subject’s anti-spectacle, a mere witness to the facsimile and to a world of what was and is no longer. As an observer of such collected material the impulse to hunt for motive, prior meaning, to anchor this theatrical servitude of aesthetic and ethical liquidation, is, in effect, stained, redacted and repeatedly exploited. With each act that is produced and publicly disclosed, undermines its predecessor, interrogates presupposition and discredits where and when this drama-affected backdrop, the subject-actor, the nominal authority, and their timeless bondage remains just for show.