Through its noticeably captivating environments, the trilogy invites spectators to allow themselves to be carried away and to suspend any vague desire for immediate understanding. It invites us to question our gaze, which is simultaneously an act of perception and knowledge. It engages us around our most private identity, it draws us toward the profound and silent territory that belongs to each of us.

Between 2010 and 2018, Monia Montali and François Bodeux worked from Samuel Beckett's last prose texts. Three of these texts – The lost ones, Company, Ill seen Ill said - are the raw materials for a theatrical trilogy with almost the same names: Wavering Abode (2010), Company (2015) and ILL Seen (2018). They are texts with a rough, terse writing that resist any attempt at a rigorous theatrical transcription. They coincide with the authors' desire to appropriate literary forms for their ability to outline a map of forces and forms that clash with other references, which they draw from photography, painting, or science and music. For them, Beckett's writing has a singular ability to continuously question our relationship with perception, knowledge, and our future as human beings. By using the motifs of solitude, wandering, incomplete action, and faulty memory, it recalls how profoundly fragile and helpless we still are in relation to our very human desire to always want to grasp, understand, and control. A writing style that brings the reader to the abyss but that, in examining it closely, does not leave him without a way out. It is precisely on the openings proposed by the texts that the authors worked in particular. On stage, figures with minimal actions perform in confined, stark spaces. Figures who, in relation to and against everything, lean toward a potential "letting go". Figures who transcend their condition in a form of internal appeasement. Figures who, in the end, are able to become part of a landscape much broader than that of their narrow appearance. Wavering Abode Company ILL Seen