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. 

A character of gradual corrosion, the figures' interiority is established through their absences, what is discarded or withdrawn from direction. As each act further hollows their interiority, they are dressed with a disidentification. To be oneself less, yet, incapable of fully revoking. Even when the subject's constitution is corpse and carted away, its presence still violates the status of its surroundings. Traces lurk, rather injure, as the actor is replaced, reinstated, reified, and dissipated into the background. Their lack exposed, spilling on stage only then to be absorbed by a coercive gap which inscribes itself as an antagonist mise-en-scène. Divorcing the actor’s world to hold existence without clear destinations. Abiding by the theatrical interval, they are paused in impasse, posed in an ending that mustn't.

Scenes echoing, impersonating an external world have been truncated, transgressed into rarefied sites of exception. Provocative of an unreconciled world where vacancy as disparity acts as a suspension, a cut, redolent of a change of order, an unraveling law of the land, another world becoming dormant. What remains, what is residual, is theatrical evidence. Released material of illegitimate posters, apparent scripts, signed contracts and 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. As a  denial to the anti-spectacle, we as mere witnesses, glimpse through a disquieting frame of a world that was and is no longer.

While the impulse to hunt for motive, prior meaning, to anchor this theatrical servitude of aesthetic and ethical liquidation, is, in effect, discoloured, exploited, spoiled by the director's divorced lens. As any act produced, its remnants unclassified, or leaked, reviewing the evidence impairs its predecessor, interrogates presuppositions and discredits where and when this drama-affected scenery, the subject-actor, the nominal authority and their timeless bondage, might remain just for show.