How can the“internalization of the post-capitalist roles”, designated by the sociological term mortification be dealt with in performance? And how to present the revolt against this is such a manner that it reaches the audience? Together with the performers, Viola Köster, Ren Saibara, and Haruka Tomatsu would like to find out the points at which the protests against the mortification spiral can find purchase and where it is muted.<The text from a Flyer>

​

The uncertain suffering that people feel in their daily routine. I expressed the suffering by creating a movement by observing, developing, and repeating actions that people do every day with objects. It is a performance solo about work and self-optimization in the setting of a normal workplace, choreographed at a desk between a chair and a laptop.
 “How do you adapt to the routines of everyday working life without everything going down the drain?" Efficiency, logic and control are definitely a big part of this and we tend to blur the boundary between work and free time so much that we are scarcely able to retreat the demands we face. 
“Im Loop -Eine Choreografie der Motifikation”  presented for the Berlin Performing Arts Festival 2019.

 
 In "Im Loop II", The stage was divided into five areas and was reworked so that the audience could feel more “Loop” as the dancer moved.
​

 In "im loop@homeoffice",  IM LOOP II and presented it as a live stream for this digital edition of the Berlin Performing Arts Festival Berlin @home. You can see Haruka Tomatsu filmed live through a laptop camera as undeviating companion and inspector of the lonely worker. In the live stream, however, you, the audience, are the ones placed in the perspective of the camera. And thus the audience members themselves become direct observers of the struggle of an individual with themself.