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The self-sacrificing commitment of each member of the theatrical team in terms of their functional as well as personal integrity while enacting the reality of the artistic fiction is an announcement which brings to light the sacrificial candle.
Under its trembling playfulness, we can equally spot the lightness and the shadows that signify its absence. Turn on the lights! Certainly, this particular text by Mueller is particularly handy in this regard.
With that, in the whirlwind of scene changes, costumes play a particularly significant role in the symbolization of the depicted. The redundancy or the echoing-effect of their appearance or the absence of nudity ties them, visually speaking, to the variety of audio signs of the theatrical text. It is not easy to illustrate, and at the same time simplify, the multiplicity of meanings when the public and the private swap and mirror themselves while all of the signs of this theatrical text participate equally.
This multiplicity can, however, be pointed out within the chain of semantic twists and turns of the theatrical sign. She who the river could not hold. Yesterday I stopped killing myself. I am alone with my breasts my thighs my lap. I rip apart the instruments of my imprisonment the Stool the Table the Bed. I destroy the battlefield that was my Home. I tear the doors off their hinges to let the wind and the cry of the World inside.