Shir, primo movimento from shir-hashirim Song of Songs. Phonemes, words, syllables are the source of sound matter. In the dark iconoclast resonate words that sometimes become almost inaudible frequencies. The audience is in the center surrounded by a permutation acoustic environment. The words are rendered architectures, three-dimensional to create the acoustic space of the place that is the scene itself

not images build its walls, but infinite reverberations, refractions. The dressing of a single soldier chases the letters in their infinite meanings. In Hebrew kissing nashàq understands the sense of arming, of biting, and with a simple phonetic variant, of burning. The neshiqàh kiss is analogous to a nesheq weapon. Biting, tearing is nashàkh. In the Song, violence wonderfully rests. The text loves its own game, and lingers in the slow pleasure of discovering and covering its object at the same time. It strikes the resemblance of its words to the highest degrees of silence; it is music ceased in every sound, which emerges as pure memory.