An Attendee

Through a subtle and precarious approach,“An attendee” tries to guide the audience perspective into the details of space, along the edge of (un)spectacular events, towards the frictions of different encounters. Small stimulation open up to bigger questions, emotionally and energetically charged, as a single performer finds themself in the company of a set of things, fragments and sounds. Upon encounter they transform into subjects, into micro narratives and locations, sketching out a place of memory, loss and hope, where leftover voices give their account.

As the performer moves along and with them, a precise, soft and concentrated body emerges that tries to attend to these accounts, encapsulated in the environment. In the attempt of overcoming a present state of affair towards another state of “future”, the performer encounters internalised projections, obsessions, lingering violence and wounds.

The practice that this work brings to the foreground tries to investigate the utility of being in a broken place, that a priori to fixing or saving, asks to be embraced with delicacy and care, with trouble, yet attention. The viewer is invited to join and rest in this space too, without pushing for answers, judgement and absolution, and to give in to the disquiet.

By looking at ecological philosophies and environmental precarity, effectively supported by an isolating pandemic, Toni Steffens is investigating anew what the notions of “environment” can mean within the theatrical and artificial realm of the black box. In her practice she refers to the context of visual arts and balancing on the line between two different traditions of mediation, in between spectacle and installation, theatre and still life/exhibition. Being sensitive to western arts traditions, she imitates the “gallery space” to foreground the power of things, objects and more than human reality. Here is where she uses performance and theatre with a notable emphasis on movement to let those things open up, create mystery and discourse, take the lead of the story and question the human body in their arrangement and encounter.

Booking info:

length: 48 mins

I am travelling together with my light designer Paulina Prokop. The set deisgn and lights fit into two trollis and two odd sized luggages.


Choreography and Performance: Toni Steffens

Set design: Nikola Knezevic and Toni Steffens  

Costume: Ginta Tinte

Lights: Paulina Prokop

Sound: Toni Steffens, Teresa Winter

Advise: Keerthi Basavarajaiah

Notable Attendees influencing the work: Alina Popa, Ana Mendieta, Camille Claudel, Jeanne Dielman

Production: Veem House for Performance, NBprojects, 2020 


Critics Choice, Theaterkrant 2020 :
Read the english translation:

Foundation for german-polish collaborations, Wroclaw 2022:

Gaia Lamarre, Les Urbaines Festival 2021
Paulian Prokop, Veem House for Performance 2020
Kazimierz Zdzieblo, Mandala Festival 2022

Former Forms
Former forms appear as materialised memories or “half-forgotten” materials in the realm of performing arts or life arts. Being both elements of former performances and elements that have been appeared and performed before, former forms mostly work as reminder of pasts, that one is unable to memorise or as defaults and disturbances of functions that belong to their former life, and which they now do not want to associate with anymore. Becoming dysfunctional in respect of their past, former forms are desperately asking the viewer and collaborator to revisit their agency while not forgetting their former identity. Former forms can be found within set design, sounds, physical practices and words. They operate in relation to their significance: while being mostly still identified as a sign x they claim to not be able to any longer represent or pursue specific ideological or functional activity and ask for state of retirement or repurpose. Former forms are mostly philosophically ahead of their users, entering into their living context to open up discourse and  perspective on what they are or became in the meantime. Former forms in that respect detect potential futures while remembering their own pasts. These futures though can only be generated by collective intervention and radical reconsideration of what those forms are able to be. Former forms attract humans in the re-pre-mirror state, who are again not able to sharply identify the borders of subjects and/or subobjects. Former forms are therefore intersubjective subobjects dealing with the chronics of significance of non-humans, that have been utilised by humans in order to write fiction, to not say history. Their main function can be seen in the stubborn insistence of motivating the human to re-evaluate this function and utilisation and hopefully rewrite, actualise and alternate their function.Former forms refer to holographic processes that transform information into form that expresses frequency. Former forms long for an activation that alters their frequency and detects their hidden information expressing their desire of being and not their function of being.

An Attendee

Orange Rest/Sacrifice


Metamotion for 270degrees

Night Flying Project





08/07/2022: "the fate cast / in the search / of four petals", during "change feeling" , collaboration with Mercedes Azpilicueta, Vanabbe museum eindhoven  
02+03/07/2022: "on J0yful militancy", performing for Mercedes Azpilicueta, rozenstraat, Amsterdam