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In NEW, the three choreographers, performers and spectators pick up on traces and fragments, appropriate past visual experiences and give physical expression to these memories to give them back to the audience.

We go to the theatre and watch a performance. We are moved by what we see. We remember what we saw the next day, the next month or the next year. We personify what is left behind, and change the view of what we have seen. We invent traces until their source is no longer clear, make up something new, arrange it and layer it until something different emerges. The process of remembering becomes a form of thinking, structuring and physical expression. The spectator becomes the curator of his own memories and his body becomes the backdrop for his memories.
What is left of the original performance? How does the act of memory and the process of forgetting change the original? How do ‘new’ bodies change it too? What context do they provide? In the process of transferring the past to the present, gaps appear that are filled with personal stories.

Very subjectively, the three performers question the development of a performance after it’s been shown, in an appeal to their own and collective memories of events that are subject to the transience of time and resist constant recall.