The first and most obvious one is the actual pace of the actors, who move as if in slow motion, with the practice inducing the play with a somewhat ritualistic essence, while giving more impact to their actions.Īll the aforementioned are stressed by both the mostly classical music, which appears in key moments throughout the play, and the excellent job in the set, with the heaps of junk appearing throughout intensifying the dystopian sense the “story” emits”. Lastly, a lone mountaineer closes the collection of passersby, with the initial girl closing the play and the circle she opened in the first scene.Įssentially a series of vignettes performed in silence, although with the occasional accompaniment of music and the constant sound of the dripping faucet, “The Water Station” manages to stand out for a number of reasons. Probably the most imposing segment comes when a couple arrives, with the two of them washing themselves inside the pond underneath the faucet before they have sex, in actually the second erotic scene of the drama. An elderly woman, a beggar and a rather extended family (or company one could say) come next. ![]() A man who seems to choke appears next, followed by a couple with a baby. A young and an older man fight, although not exactly violently, for who will use the faucet first. Various travelers stop at the faucet, others to drink water, others to wash themselves, others for no apparent reason, while a young woman, the first to appear on the stage, watches them from various angles. The focus is on a constantly dripping water faucet which seems to be placed in the middle of a junkyard of sorts, or a dystopian wasteland one could say.
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