In his second production, terminal, the Norwegian choreographer and dancer Heine Avdal bases his ideas on the notion that man is like a container through which signals or presences are able to travel. A key factor in his work was a highly personal confrontation with a sick member of his family. The 'terminal' concept manifests itself very clearly when a person is on his deathbed: even though the body has already assumed the form of a lifeless object, medical monitors are still able to determine a certain degree of consciousness in the form of electronic impulses. Sometimes a strange presence seems to intercept the lines of communication of our nerve centre, so that a routine action degenerates into a nervous contraction of the muscles. In the performance, the body is shown as a neurological system where information sometimes gets jammed. For this performance the choreographer worked in collaboration with the theatre academic and sound designer Christoph De Boeck. The sound design for the production is an attempt to translate this idea of a ghostly presence. Signals travelling through the air, through rooms and bodies, are intercepted, modified and re-evoked. The sound is developed further through the frequent and repeated use of digitally modifying registered software or system errors. The whole is a conceptually well-constructed work that combines video, photographs, music and movement in a very special way. In terminal the mechanical and human processing of information flow past one another, merge and sever all contact.
This performance is postponed (date unknown).