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P H O T O G R A P H S

The decision to make a film based on the first and final chapters of Georg Tabori’s Premature Departure was reached unanimously by our team and met with great enthusiasm. It grew out of our fascination with cinema, our desire to tell a linear story, and, above all, our deep conviction that form should play a central role—becoming the true protagonist of the work and the starting point for every artistic decision.

F I L M

We longed to engage with a medium that, as we anticipated, would compel us to adopt different ways of thinking and working. Our decision was also grounded in a conscious and consistent commitment to Tabori’s statement: “The art I write is, let us call it, a project—a proposition with which actors can do different things. It is about how, not what.” We treated these words not as a metaphorical slogan, but as a precise research task: to create a work in which form becomes the principal vehicle of meaning. For us, film was not merely another medium or an additional element of the staging, but above all a space for experimentation and the exploration of form—a laboratory in which we could test, confront and transform both convention and acting.

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