They meet in a room which could be a living room, a classroom,
a conference room or a storeroom. We are not quite sure: perhaps
a storeroom for people.
All that happens in this room is significant only while it occurs:
the next moment it has vanished. That is why the characters forget
what has provoked them; abandoning themselves to capricious, yet
fateful happenings: one action immediately over laid and quickly
replaced by the next.
The figures are colorful and erratic, following a surrealistic
thread through a bizarre labyrinth of everyday life.
Amours urbaines is a dance theatre piece in which situations
are created, where the amorous desire of an individual might very
well extend to the chair in which the desired is sitting in. A piece
in which it can happen that the actors lose the clear distinction
between men and the furniture that surrounds them: a piece in which
every now and { they become unsure where the human being ends
and the object starts.
The opaque bourgois spirit that pervades all, cannot prevent an
opalescent zest for life from returning again and again to make
its mark. Appearances are deceptive and those deceived enter an
alliance with the table and the carpet.
The dancers clear out the dusty and the humdrum everyday world
neatly and sy- stematically, to reveal the underlying chaos in which
they immerse themselves headfirst. There, the infatuated manager
meets mermaids sitting on secretarial chairs, the heart of the schoolgirl
breaks, because the table will not return her kisses and the salesman
teases words from the tapestry.
