As we are in a period of rapid changes, our cultural context and how it structures our experiences becomes increasingly quicker inadequate. The inner cultural core of values, beliefs, perceptions and patterns of behavior function often as an obstacle for new adaptations and its evolution.

Our intention within our project is to research the way in which image and representation operate at a personal and socio-cultural level. We want to use the performative context as a precious frame for deconstructing the way how culture operates; instead of reinforcing certain patterns of perception, interpretation and behavior of " every day life situations" we rather want to question, dissolve and maybe even erase them.

In our project "Where life has no value, death sometimes has its price", we dare to approach fundamental human experiences and emotions such as love, death, fear, despair, conflict, tragedy, happiness. We want to question the cultural images and its representations (and how they are represented) of these fundamental human states and ..... Our intention is not to actually “live” those states or psychologically explore them but mainly to aestheticize them in order to build a new language of performance.

One of our strategies is to research strong cultural quotations and the effects they produce.We will investigate easy recognizable quotes such as a death scene taken out of a western movie or a dramatic act of love, for example.we have developed a fascination for these stereotypical filmic scenes and the pathos that they are charged with.

We want to create a friction between what such a situation could propose (what our socio cultural expectation from it is) and our dealing or "behaving" with it, where we rather search for the unexpected. We want those situations and actions close to something readable but to produce a distortion in the mechanisms of producing their meaning.

Another strategy is to play with the cultural expectations related to the theater apparatus and its conventions. It is not only the medium dance or performance as such that we want to explore but also the space that surrounds it, the context that frames it: the theater space. What parameters define that theater space? And from where comes the need to deconstruct it?

Our intention to deconstruct the represented theatricality could be by going in overrepresentation and extreme theatricality.(also to mix the specific codes of behaviour defined by tradition of theater, contemporary dance, performance art, stand up comedy, etc.)

Another intention is to explore more intutive "precognitiv" stages; to research childs´, idiots´ or insane peoples behavior and states;to create a microcosm on the stage with toys that represent "a little mans" world. (it is fascinating to observe in a child´s behavior the need for the act of staging and playing „real life“.) in a certain way we feel inspired to create these sensations as well on stage; to create a world in a world.A playworld where everything is possible.To turn the stage into a space where the ordinary reality is fluctuating and melting in a mixed atmosphere of confusion and freedom until a new reality begins to install itself: a super-reality as a place continuously to be invented with playfull games, toys and little characters - a playground for super-psycho kids.

A hidden desire is to go beyond our detached research and critical approach of this issues and to search for the possibility of having and producing moments of "real", "authentic" experiences and emotions.

We see this project more than a process of creating a performance, We explore our subject also in mediums such as photography, video and text.