The scientific community has proven that the retina provides clear vision only in its centre, while the data received weakens towards its peripheral. The information to be processed by the human brain, is similar to the image produced through a tarnished mirror: The brain receives and processes visual data, categorizing and classifying the information, enriching it with experiences, expectations, desires and the memories of each and every one of us . Hence, we conceive the world around us through a bricolage of lived moments and desires, as a scenography of the ‘’collective gaze’’, ultimately for understanding the act of living and subsequently, its enrichment.

The past years, we have experienced a world in stasis, where everything that we know of, is no more. The unprecedented became the ‘new normal’, rendering our public collective appearance into a rare occurrence. The space we used to collectively co-shape until now, seems empty; however, if we look carefully with the centre of our vision, drawing from our lived moments, we turn our gaze towards past experiences of togetherness, locating the RARE into the acts of collective assembly.

The embodied experience of the public under the current conditions may enable us to reconsider our role with regard to others, as well as to understand and, possibly, reinvent ways in which such relations reclaim and establish the space, in the same way that our experiences shape the visual stimuli received by our eyes. The evident question though is, could a performance act as a method towards this end? We perceive performing as the creation of an interstitial space which is characterized by the pending coexistence and the vulnerability of the individuals that share the space and the experience of that encounter.

The proposed work reintroduces space through its people, employing multiple fragments of memories, images and sounds that we carry, linked with the need to get together, celebrate our togetherness. ‘The stages of every society are different’ writes Aronson. Coming from Greece, the topology of the ‘square’ symbolizes our co-existence in public: It is the place we meet, the place we share a meal, the place we celebrate in common. Closely linked with our cultural references of spontaneity, lightness and sharing, the essence of the square lies in the plethora of possibilities that arise when people connect, meet, exchange. In other words, let us set the table for you to join and as we say in Greece, something will come out of it.   Besides, squares are nothing but meeting places. On that account the most suitable space to host our performance would be Pražská Tržnice, preferably a space in between, a threshold that acts like a square in an urban environment: public but familiar, expandable depending on human activity.