Yeah Yeah Yeah Yeah Yeah

Yeah Yeah Yeah Yeah Yeah examines the production and consumption of mediated imagery and searches for the possibilities and boundaries of representation. On an upstage wall hundreds of newspaper photos are hung. The four performers take turns choosing one and re-staging them by putting costumes on each other and adopting the positions in them. A camera wandering through the scene, constantly in the middle of the action, transmits the developing and completed images to a projection screen, framing the action at the same time. Through the continual use and reuse of costumes and objects, an intimation of characters always emerge in retrospect that is, only present from the moment that they 'make sense', when the tableau vivant is complete. Lastly, the original newspaper photo reference is pushed in front of the camera like a slide.
The work on constructing and producing the staged moment is given a lot of space. In this way it is not so much about the smooth execution of a choreography, the attention is rather directed to the diversions (with a pinch of mischief) that are taken on the way to the construction of each simulated slice of reality. The transformation of the performers, looking for the correct pose and the right angle to frame it - it is all work and takes time. In spite of such diligence, the results when compared to the original are marked by their shortcomings.
Between the three simultaneous levels of the newspaper images, their construction in the theatre space and the staged image that finally meets its projected double on the screen, tensions and layers are produced, which display contradictions and idiosyncrasies. In this way, to the polymorphous live sounds of the electro-duo quarks, Yeah Yeah Yeah Yeah Yeah persistently dissolves the closed surface of the mediated image and its standardization behind which images and constructions of the self are to be found that refer to the gaze and to the relationships of power.

The bride, the supermodel, the whore, the housewife and the queen.
The priest, the lord, the sheikh, the president and all his men.
The pop-stars, the dancers, the builders and the tramps.
The theatre-goers, the art-lovers, the witnesses, the listeners and the responders.
The bourgeoisie and the free spirits.
The spectacle, the public.