Abstract
So why, on the occasion of an insight into the oeuvre of one of the most exciting theatre artists of the moment, will we devote a large part of this text to his (theatre-dance) serialisation? And why will we look for an adequate form through the way of writing itself too? Because there seems to be something at the very heart of his performance-making processes that corresponds in the relations of interdependence to the serial productivity, serialisation and narrativization of contemporary dance and theatre. [does life therefore submit to serialisation, or does serialisation frame life?] In this text, rather than focusing on individual performances, […] we are concerned with the approaches, processes and effects that govern Ferlin’s creativity – and in a visible way also influence the very way in which this text is written, structured and shaped.
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