Writers: Lutz Hubner, Malgorzata Sikorska-Miszczuk, Tena Stivičić, Steve Waters
Director: Janusz Kica
Scenography: Numen + Ivana Jonke
A co-production between Birmingham Repertory Theatre, Teatr Polski Bydgoszcz, Staatsschauspiel Dresden and Zagrebačko Kazalište Mladih
EUROPA : SURVEILLANCE+IDEOLOGY+COLOR CODING+UNIFICATION
Central space on the stage is occupied by a section of an unceilinged white room (7x7m) with a door on the right. The section is rotated into a symmetrical position towards the audience, assuming a diamond-like spatial projection.The room contains a non-descript table and a water-dispenser, to emphasise the "generic Brussels office from hell" effect. In the central corner of the very white interior lays a tidy, "architectural" pile of deep blue paper of variable formats (B0-B5). Paper is uniformly printed in Pantone Reflex Blue - the emblematic colour of the European Union. White room is surrounded by four CCTV cameras (left, right, front, above) which monitor the proceedings on stage and transmit them to one of the projectors. These streams are then projected onto a large projection screen suspended above the room, forming a quadripartite image sequence characteristic of surveillance monitors. The image sequence replicates the situation on stage from various angles but with one crucial difference - by inducing chroma key compositing technique (blue screen technology) it replaces all the blue surfaces in the video streams with an underlaying image layer. As the walls of the room begin to turn blue through the actionist rites of the protagonists, the hidden image gradually emerges behind the CCTV sequences on the projection screen. In the final moment, the stage is entirely immersed in the colour blue and all the video streams are coalesced into one frozen sequence - a large, pastel-toned, baroque painting depicting the abduction of Europe.