In a lawfully rhythmic sequence bordering on perfection, things are presented after they have been stripped of their inscribed meaning and alienated from their purpose. Man's power of definition over things is invalidated by the naive, unprejudiced gaze, and without the given purpose, these things become enigmas. A folding rule, taken out of its context, raises questions. The slapstick first takes place in thinking, which then manifests itself in action. The elegant form of a vacuum cleaner wants to find its continuation in the operation. Lunging into the prone position, the user fulfills the will of the object and thus becomes the object himself. The toilet bag understood as a hood turns the wearer into a nun. And the inflated rubber cushion wants to be squeezed and cuddled with all its might. The numbers are artfully intertwined, motifs are taken up again and re-emphasized. Everything takes place in the extremely functional stage space designed by Oliver Proske, which in its smoothness and color provides a suitable background for the softly colored lighting by Peter Meier. ... Chance has no place in the play. This speaks for the professionalism of the navigators, for their self-confident theatrical language.

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