PROMISED LAND is a homeland’s treasure and fatherland’s tale, solved via negative. positive as the potential of negative, negative as a possibility of positive.

what is the difference between zoom in and zoom out. insofar as possible to reach the detail, focus already or still on general. what is the difference between overall picture and detail, if wide angle and acute angle are giving information about each other.

which scales do we lean on, which scales are possible to lean on. how narrow or wide should be the picture or comprehension that it could be possible to lean on, could offer the support and truth.

how small or big should be the homeland that it could be possible to lean on, could offer the support and truth. is fatherland and local story determinate, is mother’s love limited.

if home is where beloved ones are than what is where the strangers are if the term stranger is unknown. what changes if to explain the term of stranger or what have happened in one’s life when the term of stranger has become clear.

to tell the story of own via stranger, telling the story of stranger from the base of my own – pointing toward the palmtrees though having all spruces and birches so close – domesticating the question, why and where do we go, why and where have had gone.

PROMISED LAND is a part of the estonian republic 100 theatre program. presenting twenties in the time frame of century of independency. the keywords of upcoming piece are sanctum, migration, dreaming about unknown lands, looking back, fundamental law, blue sky and polarities (warm-cold, close-far, slow-fast, low-high, moving-staying, coming-going).
above all narratives, it’s asking about the form. what are we doing when checking behind the shoulder, what are we seeing when looking back in time. what is missing from the present when going back in days with our attention. all answers taken from the body of today.