Light, haze and airflow draw the room’s pressure; we stand inside it together, feeling what cannot yet be said.

Mood as Weather

In October 2024, during a site-specific performance in Italy, I began treating mood as weather.Not psychology. Not backstory. A field in which bodies stand, breathe and share.

Three observations set the work in motion: Light falling to dark; wind shifting in direction and strength; small changes in temperature.

People read weather through common sense, not training. No translation needed.

Certain moods surface cleanly under certain conditions: night + wind + cool air = a blurred unease; sunset + still air + soft heat = a poised calm.

From there, the hypothesis: stage mood as a weather system. Not “inside the character”, but across the room, so every body sits under the same sky.

To heighten perception I cycle three devices: silence, darkness, ephemera.Silence cuts explanation, letting breath, fabric and friction speak. Darkness makes a visual vacuum so other senses lift. Ephemeral traces—light in haze, quick reflections, dust in a beam—draw temporary lines in the air.

Alternating deprivation and release (one sense amplified, others suppressed) produces a mild disassociation: the body responds before language arrives.

Making Weather In Black Box

Back in the theatre, building indoor weather with light, haze, airflow and temperature.The room is tuned, not decorated.

Tests:

• Light through different haze densities—when the beam becomes a body, when it dissolves.

• Air speeds and directions—roll, curl or sudden erasure of haze.

• Performer distance to sources—do we illuminate the body, or does the body interrupt the weather’s path?

I treat silence, darkness and ephemera as levers, not effects. The result: atmosphere leads. Bodies and attention follow.

Emotion is pulled by air and light; trust in space depends on an unseen climate order. Disturb the order and feeling tips, immediately.

Performance in Weather: Real Action, Slow Time

Performance holds its ground beside weather through real action and time.

Real action forces that bite, binding and counter-pull, loss of balance, friction, temperature. Not the sign of struggle, but the work of it. Physical choices are set to the live climate: breath to airflow, pace to visibility, effort to heat and cold.

Stretching everyday actions, undressing, shaving, returning the gaze, until the rooms grows restless. The point is not “beautiful slowness”. It’s to meet the threshold where attention falters, returns, and resets; where sensation turns into knowledge of one’s own impatience.

Overload, Thresholds, Misreading

We live between two pressures: constant stimulation and low tolerance for nothing happening.

The piece leans into that gap. Extended tasks and repetition move focus away from “understanding the story” towards noticing your own responses—fidgeting, aversion, the urge to look away. Those reactions are material, not failure. They map the audience’s threshold of attention and discomfort; the dramaturgy works with that curve.

Sheep, Myth, Anthropocentrism

A parallel image-track runs through the work: sheep, divinity, punishment.

In galleries and iconography the sheep shifts—from fertility to monster. That rewrite decides who counts as “animal”, whose body is fitted for the centre, whose is kept as background.

I follow one figure learning to “fit”: walking upright, shaving, breaking horns, putting on the suit. When the hoof remains, the body turns on itself. Assimilation as self-erasure.

Alongside this, a recut of divine punishment: a female god, the birth-light, the choreography of restraint and counter-force. These images don’t explain the climate; they expose the lines that orient bodies—who is centred, who is asked to move, who the room was built for. When those lines don’t fit, disorientation opens a path to re-orientation. The light brings the background to the foreground. The “not-fitting” stays visible.

A practical toolkit for indoor weather: light, haze, air and temperature, a performance grammar that syncs climate, breath and task. Also, a set of images that keep the background in view.

The aim is simple, a room where spectators and performers notice that they are breathing the same air, under the same pressure, and that this fact is already a story.

Lines of Light, Lines of Force

Echo-soma, attuning to the air, placing a civil space

great trauma: Weight, Climate, and Tension of Political Perception