Nothing is stable and we are in a continuous changing, vulnerable to the outside stimulues but ready to turn them into ideas and emotions. (The most people like to do in life is exchanging ideas and emotions).

 There is a concept of almost total freedom, of the continuous flexibility of outside and inside borders.

 The freedom is conditioned of one’s non-attachement to her/his own creation. If flexibility and internal mobility  is the aim, the harmony of inside and outside becomes the aim, too.

 The relation between people restricts their freedom just as much as it’s necesary to stay in contact with the others, not to be alone.

 The outdoor performance is like an organism in motion, which is changing form and colour and who is grabbing people with tentacles but releases them whenever they feel like to leave.  It fullfills the concept of a good place to be in, one having the choise to belong to it or leave it. 

 The performance space is modifying according to the further person who pays attention and become an audience.

Our different approaches to time and space tended soon to get together in a  meeting point. To bring new audience,  to enlarge the space of perfomance, you need to enter into their time and alter it. Spectators time is altered by taking their attention. We did this with movement, colour, forms and sounds, with direct exchange of emotions and ideas, with challenging their  normality. When a performer  brings someone inside the performance space makes his/her time slower. to alter time means catching attention, changing the values around you and the audience : to redesign the space, to reinterpret the movements, to bring different intentions which brakes the monotony of normality by changing the use of the objects, challenging people’s belief, letting yourself enter into another story. İf they are breathing together with us, they are in.

The indoor space of performance:

 İt brings  the presure of the edges to the performers and audience.

 İn Ca’n timoner the audience came with the time already limited. We didn’t intend to limit but a limited space will bring automatically the first sensation of limited time, i suppose because you enter somewhere from where you should get out. ( İn the outdoor performance space the audience don’t feel the entrance into the space physically, because they are entering there by attention, more it looks like the space extends taking inside their bodies.)

  How to create an unlimited time, or a hole of time into the limited space, to open the space in time by making audience, again with grabbing their attention,  forgetting about walls? There, the time should be in performer’s hand, like into a magic globe. The performer shoudn’t  be dragged into spectator’s limited time but making him fall into the no time hole of curiosity, empaty, admiration, identification.

 (The relation between speed and time. The pressure of limited time makes one speed up. Stop and you’ll stop the time.)