EXIT EURYDICE | 2026

The performance Exit Eurydice by Silvia Marchig and collaborators deals with themes of doubt, persistence and the relationship to transience. It explores what it means to continue creating, to stay and persist despite uncertainty, through media of movement, voice, poetry, music, video, costumes and light.
 
Exit Eurydice. Anne Carson told her: Every exit is an entrance. Eurydice found her book Decreation in a hidden street, there in the company of ghosts. Eurydice saw the film Orpheus by Jean Cocteau from 1950. In the film, death falls in love with art and art falls in love with death. She knows about this love and has no doubts of its strength. If Eurydice were a performance, she would float between black, white and occasionally green spaces with a glimpse of pink. She would briefly disappear, but that wouldn’t be a big deal. She would be interested in double images and wonder about the embrace: does it pull more downwards or inwards? She would be looking forward to her (she who, you wonder?) because she loves her although their relationship is a bit weird, if you only think about it. Enter Eurydice.
 
“But refusal, which is only sometimes a kind of poetry, does not have to be limited to poetry, and turning the world upside down, which is often a kind of poetry, doesn’t have to be limited to words.  Words are useful for upending the world in that they are cheap, ordinary, portable, and generous and they don’t mess us up too badly if we use them wrong, not like if we use matches or a machete wrong, but poetry is made up of figures and figurations and syntaxes as much as it is made up of words. We can make a poetry without language because language as the rehearsal material of poetry has made the way for another poetry, that of objects, actions, and environments.  This is not saying to be a poet means you only have to rehearse turning over the world: now try putting the chair on your head.”

Anne Boyer: No