Enigma

“Riddling forces thought, and thought gives birth to understanding.” (C. E. Mõtleja, 1878, Book of Riddles)

The spectacle takes place behind the curtain. A magician saws their assistant in half, and we gasp. A writer hides one word behind another, and we gasp. The lights go on, and no one sees. A white horse is not a horse. We speak in the language of gestures. This here is a design, this here is an idiom, and that over in the corner is a metaphor. These are the first fragments of an unfolding mystery, the sweet slaps of the unknown. What is hidden in one place emerges elsewhere, revealed only to you, children of teaching and knowledge.

The starting point of Enigma is riddles. A riddle consists of two parts: the question (task) and the answer (solution). Simple in form, inexhaustible in essence: the first recorded riddle, 3,000 years old, remains unsolved. The second starting point is choreography as a linguistic system. A movement is a word, a sequence is a sentence, and the body is full of meaning to the throat. In Enigma, cryptic language meets symbolic body. It is a dialogue between two riddle-solvers who cannot answer any question directly, who immerse themselves in secret meaning-making, who wrestle with truth and logic.