Introduction with a story as a ready made. Bart starts with a  monologue about a chapter that didn't make it in his book 'the return of the muses'. This unfinished and unpublished chapter seems to be asking for attention on a different stage now. The chapter discusses the role of ecstasy and being taken away in the play to different places than business a usual. One of the stories to explore the theme of 'going with the flow' is the myth of Perseus and Medusa. Bart tells the myth and three of the images in it are responded by the music of Gaunt, Pett, Poll and van Rosmalen. 

A miniature lecture that adds interpretation and understanding. Than Nirav Christoph takes the word and talks about the philosophy of Bakhtin. Suddenly we are in a scholarly lecture. We explore with Christophe three issues: Unfinalizability: a work, a thougt, an exploration- it is never finsihed but continues in what comes next and came before. Dialogue: nothing what I do is done alone, there's always an other to respond, to make it more. Polyvocality- my voice is not the only voice, from the principle of dialogue follows the idea of more voices, a polyphony of voices that all say something about a topic. This asks for allowing more perspectives.

Continued performative research by improvising for an audience. Responding to this mini-lecture (7') Saleming, Van Rosmalen en Christophe start to improvise theater and performance. Van Rosmalen with a moody expression of softly singing over jazz-chords on an upright piano. Saleming and Christoph bringing in older texts, translating on the spot, embodying what was written down. Now 'theatre' takes over. A tangolike song comes in, Saleming picks up the clarinet and Christoph sings along the lines. And  there's a dying scene on stage.

Workshop and collaborative working form. The third part. Every member of the audience is given three small papers with the question to write down on each paper a thought, a citation of what was presented, a feeling or quote from somewhere else. All papers are put on the floor. And everybody chooses three or more sentences/ words to compose a new text out of it. the cellist (bart) accompanies this relfective/ creative process.

Performing with the audience. Than we sit in front of each other: the audience/ the players. We ask the audience to perform their texts three after another. Pett, Pol, van Rosmalen resonate to this input by playing back a short piece after each block of three texts.    

Staged conversation and coda. A free conversation follows. What is the idea behind this method of performative research? What did the audience experience? What were  moments of a sudden insight? After the conversation Bart introduces once more the song of the theatre part singing it louder and louder. One by one the other players and the audience joins the singing. Like this the 'workshop' 'performance' 'lecture' 'debate' is finished.