The performance consists of two parts.
The first part is the story of rehearsals for a stage adaptation of David Foster Wallace’s Infinite Jest that cannot be opened, first due to the pandemic and then the war.
The second part is the stories of the viewers who watched the performance in the first act and it brought them to the second.
The first part is the life that is displayed on a timeline. Deconstructed into weeks, days and hours, it molds into here and now.
The second part’s text isn’t written, but is still connected to the first part.
The first act is the script of a play, the rehearsals and everyday life that intertwine and become the collective body of the performance. We cannot distinguish and separate what is performative and what is everyday. In essence, it is both; out of routine of the pandemic and oncoming war comes a performance that cannot be ever opened, and it may be the best thing that can happen to it.
The second act is the result of the first.
The first part is two hours long. The second is up to the audience.
The performance contains texts by Robert Falk, David Foster Wallace and Iliya Moschitsky.