Marguerite Donlon obtained fundamental inspiration for the piece from texts of the british dramatist Sarah Kane, who commited suicide in 1999 in consequence of a mental disease at the age of 28. Kane’s texts oscillate between soberness, aggression, sexual directness and death wish. They explore the wondrous frontier between conscious, half-conscious and unconscious talking and thought process.
The texts in their moderate significative and phonetic condition are an impulse to a self-contained structure, in which the musical continuation and perspectivation of the composer Claas Willeke play a decisive role. It is particularly clear at the point, where words and sentences in the mother tongues of the dancers (among others Portuguese, Catalan, Corean, Japanese, Chinese) intensify to a veritable babylonian entanglement which in its musical composure still keeps its inherent clarity and expressivity.