The performance piece is inspired by a letter that Kafka wrote to Milena Jesenská by the end of March 1922, elaborating the idea that ‘The easy possibility of writing letters [...] must have brought wrack and ruin to the souls of the world.’ He claims that communication through letter writing yields ghost phenomena: ‘Writing letters is actually an intercourse with ghosts and by no means just with the ghost of the addressee but also with one's own ghost’. (See: Franz Kafka: Letters to Milena, trans. by Philip Boehm [New York: Schocken Books, 1990], p. 223.)
Following Kafka, Haunted Territories circles around the notion that modern communication creates ghostly presences, and this so even more, the more technological means are involved. It also addresses that, along the way of their exploration, fields of an in-betweenness evolve appearing to be 'haunted'. For, every time we enter unknown and unexplored terrain we have to overcome our fear and insecurities. In order to cross and push boundaries and to endure crises, we need fearlessness and a claiming quality, strength and persistence, stamina and an incessant joy for exploration, even in public, which is the case when, with regard to vocal, sonic and bodily practices, the performer allows their intermingling, intersecting and imbuing of each other. Choosing the title as such aims to point towards those fields of intersections and overlappings that come into being precisely because of the unusual entanglement and merge of one single performance practice with the other.
The aim of Haunted Territories is not only to map out hitherto barely explored performance territories, but also to offset the performance-typical practice demarcations and abolish the conventional approach in order to open up the spaces between the oral, vocal, bodily, sonic and musical sphere towards an expanded field of vocal art performance which, within this context, allows to make exceptional experiences for both the performer and the audience.