anna and jérôme bel's (fictive) ensemble are at the opening night party. the play takes up the threads of the story of love turn, when anna has left alex's car and meets her lover jérôme.

via in-ear-monitoring the anonymous audience watches the "dinner with jérôme" in the restaurant. all other attendants of this social space have no idea of their unwilling role as backdrop of a subliminal play. as viewers of the protagonists' noticeable behaviour (dialogues, acting, dancing) they get watched themselves.

just like in a film by john cassavetes or in jan lauwers' "need to know" the dense plot emerges from a framework of the four characters anna, jérôme, a dancer and an actress from the ensemble. anna is now free for her lover, but jérôme doesn't quite know, how to deal with it. his ensemble members interfere in their relationship of their own volition.
"everybody knows that the naked man and woman are just a shining artifact of the past, everybody knows the scene is dead, but there's gonna be a meter on your bed that will disclose, what everybody knows." (leonhard cohen)



principle: variation

with its construction plan the play defines itself as a copy, as a "division" in the musicological sense, that creates something new by universal and logical operations on the given work – "adebar" by peter kubelka – and still makes references to the source material by any expression. this universal principle of evolution finds a self-created space for expression in art. art does only exist, because of the human brain's ability to copy artefacts under the terms of selection and variation. dinner mit jérôme demonstrates that this principle of copying is the driving force of contemporary performing arts.


dinner mit jérôme is the final module of the "love turn" cycle and can be combined with the modules love turn and skyhook in any order.