"You see what you think they are hearing." (H.W.)

The choreographic project Un après-midi happens in the space between score and interpretation. (In every presentation four new unrehearsed drag kings interpret a score which they hear for the first time during the performance.) The score is based upon a game of interrelated (mis-)interpretations, translations, and authorships: The composition written by Henry Wilt is founded on an earlier version by Antonia Baehr and William Wheeler. It is based on a musical score on paper on the one hand (John Cage "Solo for Voice Nr.3") and a musical recording on the other hand (Replays of Claude Debussy's "Prélude à l'après-midi d'un faune"). The texts encompass furthermore two photo-lovestories from teenage zines and a purely physical method to show feelings. Through this, Henri Wilt watches the construction of the love-couple under a feminist/queer light, and the performativity of female masculinity.

„The landscape has its formation and as after all a play has to have formation and be in relation one thing to the other thing and as the story is not the thing as any one is always telling something then the landscape not moving but being always in relation, the trees to the hills to the fields the trees to each other any piece of it to any sky and then any detail to any other detail. (...) Anyway the play as I see it is exciting and it moves but it also stays and that is (...) that might be what a play should do.“ – Gertrude Stein in „Plays“