‘The anti-efficient spirit of what happens on this stage 
comes from the observation that efficiency, in reality, 
leads to the design of solutions 
that are not answers to apparent problems.’
(libretto)

A million words to get nowhere.

Eight performers engage in a continuous questioning of humankind’s inefficiency. As metronomes of the world that render time tangible, they forge ahead unrelentingly. Dancing with their bodies, singing with their voices. They are both orchestra and corps de ballet. They are imprisoned in an endless loop. Just like Sisyphus, but then in Albert Camus’ hyper-optimistic vision. They imagine a boundless striving: an upward movement that goes downwards; and a downward movement that goes upwards, a re-evaluation of the inevitable. Simultaneously, everything has to change.

As co-authors, Sung Im Her and Maarten Seghers delve into the history of their own autonomous oeuvre, seeking out movements, sounds, choreographies and songs in which the intensity of the effort peels itself back to become content. Their fascination with the absurd revolves around the poetic and humorous value of the attempt.

Everything Must Change is an anti-dystopian manifesto, disguised as a poem, in which an eight-person choir of bodies sings about humanity — the audience — and their non(sense), failure and resilience. It is an exploration by the artist of the artist with the simplicity of an endless pop song. Everything Must Change as a song about the irreversible awareness of finitude in search of the comforting but hopeful idea of evolution, imagined as a closed circle.