Introduction /
The triptych is a dramaturgical bow of three parts based on a creative process: a performance, a workshop and a durational performative experience with local communities. Instead of fixing static compositional material, we developed modes and conditions of sensual occupation - a practice that blurs the boundaries between the spectators and the performers, between follower and leader and between the outside and inside space.

The performance < (To) Come and See >  is a real-time process of working-through* the personal and collective eroticism. Five women are claiming the site of the theatre as their playground, their ecosystem. In their play, they touch and gaze, dissolve their identities and charge the space with the unpredictable, oscillating flow of their libido. They are excited, amused, bored, and confidently insecure. Yet, in this process of searching for and indulging in play, they are subjected to a gaze of spectators, who are both accomplices and intruders.

The practice explores the idea of an erotic dramaturgy, which claims to stay open and therefore turns sensuality into a liberating experience, free of the idea of a goal. Between proximity and distance, disappearing and presence, a sensual landscape, joyful and uncanny, emerges. (To) Come and See is not merely a performance. Rather, it is an experience where one is allowed to surrender, let go of aim and control and feel vulnerability and fear whilst feeling protected by genuine tenderness and sensuality.

*the term ‘working-through’, that was introduced by Sigmund Freud, is borrowed from psychoanalysis theories and is described as the process in which we learn to recognize and accept the suppressed aspects of our own subconscious.

History /
(To) Come and See is a performance conceived, choreographed and performed by the five creators: Eilit Marom, Anna Massoni, Elpida Orfanidou, Adina Secretan and Simone Truong. The project was initiated in 2014 when Simone Truong proposed a research about the notion of eroticism, born out of her own curiosity for eroticism. She wanted to open up the discourse in a larger context with other accomplices. What began as a curiosity became a journey of multiple gatherings, researches, sharings, and performances all over the world: Athens, Shanghai, Zürich, Lausanne, Swiss mountains, Amsterdam, Tel Aviv, Brisbane, Jerusalem, Paris and Haifa. Along the way, the different and widely varied experiences and encounters made the project develop and grow organically.

One of the essential practices of (To) Come and See is to constantly open up; from the inside to the outside, from the individual to the collective, from the performer’s experience to that of the spectator’s.

The next and most logical step is to exceed its own boundaries and open up even further by including the outside in their ecosystem.The project unfolds into 3 different forms on a basis of a common practice:
• (To) Keep in Touch - a workshop on touch with resident local in their hometowns
• (To) Come and See - a performance
• (To) Give a Hand - a durational performative experience with the workshop participants

The strength of this project lies in the premise of its process: the creation of a space where intimacy, sincerity, mystery and also fear are allowed to become part of the exchange between the performers and their audience. An invitation is made to take care of a shared time and space and of a common environment.