Wee’s creations have changed in format and aesthetic, yet they have continuously tried to explore what theatre and performance can mean in contemporary life and what kind of dialogues they can open with the audience.
The early work Daddy always wanted me to grow a pair of wings (1998), had an almost “circus like” atmosphere and look of an old black and white movie found in the loft. It was welcomed as a charming family performance and was, at the same time, presented in several experimental theatre festivals, exemplifying the possibility to read the piece on different levels and emphasizing the antagonistic aspects present in the work.
From performances like Live* (2001-02) co-produced by the Biennale of Venice, that used video technology and intricate visual live editing, to a theatrical piece like Sincerely yours (2008-09) in which the use of text played an important role-, the need to investigate within different types of expression, have lead us to change continuously.
With Surprised body project we focused mainly on movement and choreographic issues, and that research, grounded a renewed approach in exploring the body within the later creations, as On the moon and the day after (2013).
The core of the company’s investigation deals with fragility and paradox, epiphany and dream, empathy and surprise, avoiding narrative and physical cliché, and questioning reality and identity with humoristic disbelief.
Wee wants to create performances that can engage and amaze, that evokes empathy and can twist expectations, that can be poetic and unusual, and that we experience as a challenge for ourselves. That surprises us, as much as it talks to us and about us.
We never aimed to be highly provocative, even when we almost succeeded in doing it. On the other hand, we don’t necessarily want to be funny, while appreciating laughter as a tool for self-irony and demystification.