In by getting one’s hands dirty Varinia gives herself the task to consider collage as a performative principle. Here, movements and interactions with objects will get interrupted and fragmented, piercing the thick and opaque layer made by the quotidian and functional use of these very objects. As a result the materiality of objects might appear. In by getting one’s hands dirty, performers reconfigure attention from use to materiality, by exploring sensually actual objects on stage, by seeing and observing them by means of the sense of touch.
What if another listening quality and care develops by taking things for what they can do (to us) rather than for what they are used for?
In by getting one's hands dirty two figures, two women, two bodies are looking for contact with surfaces: that of their own body, the floor under their feet, or the walls of the theatre. The performers are aiming at testing borders, limits and passages to other territories, in order to blur, unite or destroy them, while constantly asking themselves: “where are we now?”