Starting from Édouard Glissant’s idea of a poetics of relation, Anne Juren develops a choreographic work that understands movement and language as inseparably intertwined. 41 creates a space in which body, imagination, and perception continuously generate and shift one another.

At the core of Juren’s artistic practice lies an exploration of the relationship between movement and language. Her works often take shape as open experimental settings that invite exchange and activate the spoken word as a productive force. Language does not function here as commentary, but as action: it generates images, displaces meanings, and relocates choreography into the imagination of those present.

In 41, the focus turns to dysfunctional relationships, absurd phantasms, and actions that remain difficult to grasp. These are not narrated but translated into bodily states and transitions. The body appears both as bearer and projection surface, as something that reveals itself and withdraws at the same time. Juren draws on Glissant’s concept of a poetics of relation and approaches it as a mode of thinking and acting rooted in the imaginary and resistant to fixed definition.

In this context, the theatre comes to the fore as a site of representation that is being renegotiated. A space emerges in which performers, dancers, and audience meet within a shared imagination. The visible and the invisible, the real and the imagined, the private and the public intertwine, giving rise to a multilayered and constantly shifting physical landscape.