Realising Craig’s visionary dream of an actor-marionette, they took a step further in their studious work. Not reducing the mask to the character’s typical definition, they brought her into an organic relationship with the action. The synthesis of mask, movement and music in their play evolves into a system of theatrical signs and symbols through which dramaturgy, stories of good and evil, life and death, poetry and nothingness are accomplished. A simple, suggestive, and always thoughtfully chosen stage sign realises the poetic-thought core of their idea.
By consciously limiting and reducing the choice of theatrical means to mask, movement and music, the authors maximise their connotations of content and meaning, bringing these means into a series of combinations and organic coupling.
This play is in the true sense exploration, which does not limit its value, “unusualness”, freshness and meticulousness – on contrary speaks of a different, more modern reflection on theatre art.