This work will open a performative space that will take the form of an ephemeral cabaret, and glitch in an abstract and meta-endless game.

As gamers, we can ask ourselves the question: where is the game being played? Where are you when you play? Are you in an afterlife, elsewhere or nowhere? Is it a refuge, a shelter, an escape or life itself? What does it mean to move, to eat, to fight? What are the limits and boundaries of ludespace (and of the performance in the ludespace)? What are the rules in this territory that justify our acts and frame our actions? What is it that blurs our distinction between real and virtual when we play? How do virtual worlds, avatars and video games help to suspend or displace a certain reading of reality? Do they allow us to project ourselves elsewhere?

How does this performativity work, and which mechanisms are unlocked by the glitch? A glitch can be understood as a disruption or deviation from the expected behavior within a system, whether technological, social, or cultural. It embodies an interruption in the seamless flow of information or functionality, often resulting in unexpected outcomes, distortions, or errors.

The performance persona embodies glitch and will evolve slowly in different maps, environments, and states of mind. By deconstructing the practice of stripping and the gestures associated with this very specific type of performance, the performer alternates between learning and unlearning, between appearance and disappearance, grace, sexyness, power and vulnerability.

What happens when the materiality of the body is disturbed?

What happens when the I is diffracted on multiple versions of ourselves?

What is a body that refuses to perform the score written for it? or over perform a certain type of score?

Acknowledgment

Nina Pebay, Alexandre Capan, Stephen Thompson, Dael·e Anslem, Paul Maheke, Caroline Coudournac, Clémentine Blaison, Jean Louis Paquelin