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| Wednesday, 29th June 2011 | 21.00 / The Youth Theatre, Grand Stage |

Allege
It is an old man that would be a child that would be a woman. Putting things into each other, pouring and removing and putting each other into things, mop and toys. Creating bubbles of meaningless worlds, these are very important.
It is a monkey that would be a dog that would be a snail. Directing the space, creating still lives, making sense for everything that still looks arbitrary, forcing meaning into its order. It looks random, but that’s anyway about it.
What I’m writing about is not what it is. It is close to what we think it is, it is not an art for the future nor a culture for now. It is five hundred quotes disguised in few plastic bottles. It is not a geometric demonstration. It is not about Clément Layes, it is not a rock concert although it would be great. It is not only happening, it’s also unhappening, it is not ambivalent.
It started in 2002 and is not finished yet: it’s been a quartet first, then a trio in 2004, it moved to a duo, went to another trio in 2007, and now it’s a solo, we lost people on the way, it was too difficult, only I have stayed, still trying. On average we lost less that one person a year so I think I have at least one year to go, then I’ll see, maybe I’ll leave the things alone.
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Public in Private
Public in Private researches, reflects and questions social, political and cultural structures, as well individual position in these structures. Public in Private’s goal in collaborative approach is to broaden up the borders of choreographic language, intriguing different thinking, perceiving and reflecting about our own and about other medias. Most relevant aim is, however, a further development of choreography as contemporary art form. Jasna Layes-Vinovrski and Clement Layes founded Public in Private in 2008 in Berlin. www.publicinprivate.com
(…) Clement Layes presents himself in this performance when he mentions that: ‘It is me’, and then jumps on the table – the theater scene – and says ‘and it is philosophy’ to make a bridge between philosophy and performance, which are his educational background and his interest as a player. Then he puts off his clothes and pours water on him, aiming to purify himself, cut the binds and limitations and reach peace.
Repeating, repeating and repeating!
Filling the glasses and bottles with water, and then emptying them, writing on the blackboard and cleaning it for several times, and continual watering of the small plant are all representing the endless binds of everyday life and at the same time, symbolising a human being filled with hope for the future.
The performance is accompanied by Like Humans Do, a song by David Byrne, which along with other elements of the scene testifies to this claim. The repetition of a life pattern of life, which has been more or less the same for everyone since the beginning of the world and will be to its end:

‘For millions of years, in millions of homes,
A man loved a woman, a child it was born,
It learned how to hurt and it learned how to cry,
Like Humans do.’

Elaheh Hatami, dance critic