And no, because having someone do something in front of someone is simply not enough for us to call it theater. Then what are we missing in our equasion? Probably there has to be something that happens between you and me. So it turns out we are searching for that initial connection between the actor and the audience. We try to reach a moment in which the body follow its own impulse in such a manner, that both the actor and the audience are surprised of the result.

 

You know what happening in real life is. It may be a simple smile from a stranger on the street, or he way the wind blows in your ears when you’re not expecting it, it may be even a postcard from a long forgotten friend that you find in your cellar. This, in Alma Alter, we like to call, happening. It is something that we cannot predict. An element of the equasion that is simply uncalculatable, let’s say.

 

 

So now we have you (the audience), me and the happening. And still we have something else that’s missing. You are probably asking yourself: how does the happening happen?

The answer is: interaction.

In Alma Alter we strongly believe that in order for a performance to be what it is we need to involve the audience in the process of theatermaking. Every night we play a performance in front of a different set of audience. This means that every night the performance might go in a completely different direction.

 

Through interaction we manage to abstract the important, the essence of the moment. Afterwards we incorporate what he have taken from you within the performance. So it turns out that through interaction we get you, the audience member to react to what we have just provoked and inspired you to and afterwards we both can substract the essence of it. It’s a two-way process. So where does this leave us with our equasion? We can narrow it down to:

Interact. React. Substract.