About the set design
The idea of the project illustrates an almost hollow, minimalist space in which the actor's body is constantly valued, where the visual is significant not by the force of shock but by the power of suggestion. From the naked body to the videomappig projections, from the geometry of space to hanging meat hambs, nothing is artificial or flecked, everything glides towards a space of confrontation between reality (the succession of stock exchanges is a metaphor of the new God) and dream. In this space, the actor's body has to fill the voids, the eye fixes it, it becomes the instrument that conveys the emotion and potentiates it.
Job's butchery is from the beginning a „KARMAngerie”, a place where no dream can survive. It collapses (glides in two parts), revealing an almost empty space, austerity (the bank, a friend's house, the periphery, etc.). Some minimalist furniture objects animes the space, the rest comes to life through the presence of the actors. The clean, white architectural space is broken by the natural, organic objects – skulls and animal bones and the dead dolphin body.
The white skin of the house becomes a projection surface, changing it and completing the overall picture of the scene with new visual meanings.