Peer-reviewed article published in Résonances IV – L’ambition au féminin, Université Catholique de Lille, 2017.

The publication reflects on the relationship between audience, authority, and participation, expanding the theoretical framework of the performance project.

The article is organised in three sections: a complete transcription of the 20-minute performance, the written version of the narrative progressively constructed through audience interventions, and a critical essay outlining the project’s conceptual and theoretical framework. Together, these materials operate both as documentation and as an analytical extension of the work.

Drawing on Albert Camus’ reading of the myth of Sisyphus and reflections on the absurd, the text approaches adaptation as a structural condition of artistic practice. The performance is understood as an unstable and negotiable situation in which meaning is continuously produced through interaction, displacement, and transformation. Repetition, interruption, and acts of destruction function not as failures but as generative forces within the piece.

Through this lens, the project examines spectatorship as an active position and questions fixed notions of authorship and control. The work is framed as a performative experiment in shared agency, where authority circulates between artist and audience and where power relations are constantly reconfigured.