In the remote island of Hammerfest, Norway, the prospective full extents of automation and post-labour economy would challenge our desire for collective life, taking agency away from individuals.

In the face of the growing automated port and the perishing city, the spectacle of automation calls for new forms of theatricality, where the theatre, far from the optical relation of the theatron, finds in drama (action) the becoming performative of production.
Water, with the cyclical motion of tides, performs as a motor for the performance: the stage is a platform floating on the sea, while four podiums revolve under the forces of the waves, constantly reshuffling roles and parts. The machine of the theatre thus takes active part in the transformation of the landscape, accelerating its artificial manipulation at the hand of technology. As a new form of collectivity, the Theatre measures the pace of changes, interpolating the urgency of human artifex with the rhythm of natural systems.