By transgressing the condition of a representation to that of presentation, PLAY immerses the audience in the present, within a shared situation.This space is not a stage, nor a sports building: it is a place, thought and lived.

PLAY thus explored the site and disclosed its multiple layers in an attempt to trigger place: to enhance and intensify the feeling of sharing a place. The audience was part of a shared experience that transformed the perception of this site. The event added one more, if thin, layer to the building’s history and its collective meaning.

In PLAY, the listener is guided through an apparently linear narrative that reveals the various processes used to reframe the site.

The line is used as a device to work through these processes. It begins by deconstructing the rules of the game and, hence, the use of the space. The line, following Krasiński, is more than the marker of game areas. It is a manifestation of a boundary, that which separates and delimits: a territory, a battle line. In PLAY, the line also emphasises linearity, traversing and connecting the different layers of space, such as physical, sonic, conceptual, socio-political, and temporal. It connects the outside space with the inside of the building, the event with everyday life, and the remote life of the place with the present experience of the audience.

Final Remarks