On Air is a forgotten “room” that only a small number of characters have access to. “Room” hidden, hiding place of what happened elsewhere and where to hide.
The drama is not on stage. Only narrative residues, ruins of events that have occurred in other places, can be grasped.
On Air : with this title we try to evoke the dimension of the ballroom dance, the lightness of the sign of movement. Sign generated by the action spent in designing areas and rewriting the acted space.
The “dance” of the characters is a pascalian divertissemant.
[…] I discovered that all the unhappiness of men comes from one thing: from not knowing how to stay quiet in a room. […] 1
The “dance”, a choreographic sign, is the counterpoint to distract the eye and lead it “away” from thinking about itself and considering its own interiority.
A group of men, dressed as waiters, are busy in the room picking up and depositing objects, collected “trophies” that refer to events of which these figures are witnesses. A continuous subtraction of elements from the places of the “crimes”, ex-voto to transfigure the “room” and reveal it Wunderkammer, chamber of wonders, magic mirror and crossing of it.
The Dance uses the “dance” as a ritual spent in revealing the imaginary hidden among the clues. Dance as a deployment to a hidden world in which its identity returns with greater ferocity because it adheres to perception, as a relational value.