Ein Tischfussballspiel




From the beginning and in a non-stop motion, the piece is built up following the logics of we can call as “concentric circles” around the central instrument: the football table. They compose the whole development process starting from a standard concert situation (performers reading a score and playing one “instrument”). Progressively, the dramaturgy extends this status quo by pointing on other parameters that were actually there, but hidden for the audience; it increases the importance in the action of, for instance, the time representation, the bodies of the performers or the lineal time perception. Also, the performers modify their interpretation technics throughout the piece by incorporating the use of the memory or theatrical resources, such us the embodiment of several processes of technical time manipulation.


By the emergence of the third performer, the action becomes a puppeteer theatre apparently controlled by an external hand, which keeps extending its phenomenological control until the end of the piece.


The relation between video and performers (which apparently holds a live broadcasting function), is also put into a question. Gradually, the bifurcation between both “stages” reveals the nature of a false relation, an illusion of synchronization, which acquires dramatic consequences.

Óscar Escudero