Performance at Café Baton, Amsterdam, August 2002.



8 Performance at de Vergulde Gaper, Amsterdam, September, 2002.


Performance at Café Eerste Classe, Amsterdam Central Station, Amsterdam, 2002.

4the final bench scene, Alfred Hitchcock's 'Notorious,' (1946)

The character played by Ingrid Bergman is the daugher of an ex-Nazi. Persuaded by the CIA to help them infiltrate a secret Nazi network in Brazil, she marries against her will, an old associate of her father. In the process however, she has fallen in love with her handler, played by Carey Grant. When her mission is uncovered, she becomes a victim of slow poisoning by her new husband and his mother. This scene shows her final debriefing before the poison incapacitates her. The past has submerged the present and the central characters have become like sleep-walkers to one another.

(a performance for two actors) Amsterdam 2002, Gothenburg 2002, Belo Horizonte 2003

A 2-minute scene from the Alfred Hitchcock film, 'Notorious,' (starring Ingrid Bergman and Cary Grant) is integrated into the daily life of local caf├ęs, with no indication that it is a performance. The only remarkable feature is that it is looped or repeated 12 times during the period of about 1 hour and 15 minutes. For a 'viewer' who notices the scene unfolding it is difficult or impossible to follow the dialogue and a narrative can only be imagined, colliding cinema references with the reality of the moment. A pile of red scarves gradually gathers on the table, left by the female character as she leaves and returns repeatedly.























Notorious [Les enchaînés]
(une performance pour deux acteurs) Amsterdam, 2002, Gothenburg, 2002, Belo Horizonte, 2003

Une scène du film Les Enchainés, d’Alfred Hitchcock (avec Ingrid Bergman et Cary Grant) est rejouée dans divers cafés. La scène de 2 minutes est intégrée dans un nouveau décor sans jamais indiquer qu’il s’agit d’une performance ni d’une citation. La seule trace de jeu est qu’elle est en boucle ou répétée pendant 12 fois sur une période d’une heure quinze. Pour un « spectateur » qui remarque la scène, il est difficile voire impossible de suivre le dialogue et la narration peut juste être imaginée, les références cinématographiques entrent en collision avec la réalité du moment. Un tas de foulards rouges se forme petit à petit sur la table, laissés par la femme à mesure qu’elle part et revient, indéfiniment.