Cartography is constantly reinvented by the escapes that draw it

On stage, a character who cannot find comfort anywhere builds this inventory and traces its routes. From home and close relationships, the piece opens up to the outside and towards abstraction: the objects are transformed into a map, and the map into a trace of something impossible to fully encompass. With an inventory of flights through the objects that people have taken with them when they have had to leave. A ring, a cassette tape, a box, a photograph, a key. Seemingly minimal objects that contain an entire life and that become repositories of memory, and survival. The inventory comes to life through its protagonists —Henry Box Brown, Elise Cowen, Lisa Fittko— and also through stories of people who, even today, have to flee. All of them carry objects that become living archives of the past they leave behind. Maps are constantly reinvented through the flights that draw them. Each forced displacement leaves an invisible mark on the world: an improvised line, a fragile trace, a memory transported within an object. Flights, exiles, exoduses and diasporas leave behind footprints, trails and signs that form a constantly moving tapestry.

Inventari de fugues embraces documentary theatre, theatre of objects, fiction, installation. It drifts between forms and languages like a hybrid stage flight. And in this displacement, a very old question re-emerges that, doggedly, remains valid: what can we do today with words, with representation, with what we understand as plausible? What do we do with truth and lies, with stories, with the formats of the stage, in an increasingly fragmented world, reduced to smaller fragments, to shorter words, to more uniform gazes and to such directed experiences?