Anne Imhof

So there is like a lot of weight on that potential that the moment has and the openness that this way of working creates.

And then it's like, this is maybe linking your previous question and this one together, like that the moment is so important.

It's also, I think, makes the pieces so much of the moment in people's heads.

I even would say much more than what is in the room and props or what people wear or what I chose for the costumes or anything.

anything like that it's like the experience that people bring into the space and the meaning that is created as you said like in between performer and audience member and the agency that I give performers is actually I try to relinquish control it's not so easy because of course it's

I'm also aware that there's like, as the artist, I have the responsibility for it to be the work that I want it to be or that I think is the best that it could be.

But mostly the best is only achieved if the performer is the agency given by me that they anyways have.

Each performer on each stage in the world has all the agency because they're there alone or...

Even in a group, you know, like they are still the one who decides in the end.

And that's what the ephemeral has.

And that's also the beauty of it.

But of course, there's a back and forth.

So the texting is one way we sometimes communicate, even though...

Right now, the performances got so complex that performers rarely have the time to check their phones.

And sometimes they're stored somewhere and they check them at a certain moment.

But I know almost all of those cues and I know where people are in a specific moment.

So I can also just go there and talk to them directly.

which is more efficient and faster usually.

And we are adapting the piece, let's say in the consecutive evening that the piece is shown, until the sixth, seventh evening, it's completely reworked.

So there is...