 Now, hello and welcome to the round table on the topic of personal stories and your subjectivity in theatre. We are today with a group of mostly younger artists who has provided us with the core selection of this festival this year, which is almost all of them are one-on-one performances, which somehow question the relationship between one audience member and one narrative they co-create in a kind of mutual space. The performances, although sometimes short, are on the edge of experience more than the spectators' gaze, which provides a new, I would say, a sort of active gaze or more participatory audience member who becomes a subject of the performance as well. With us today are Joe Benham from the UK, Maria Musia Cruz Correa from Portugal, a Belgian based artist, Harry Jadals from the UK, Javier Popes from Spain, Janek Torkowski from Poland, and Gergely Wudas and Adelina Nica from the group Silver Based in Austria. So because of the very fragile dramaturgy of all of the pieces and my, I have a very big fear that I will spoil anyone's experience in the performance. I think it would be the most appropriate to start around by introducing the artists and the projects in the sense how much they're willing to share of the performance itself. So maybe we'll start with Maria. So Command Dreams is a floating platform on the river where I take you on a journey through the waters and I steal a little bit of your time and I put you away of your normal daily life. The idea is that you somehow disconnect with your material capitalistic form of living and we dream about a new future after a post-apocalyptic scenario, which means that the city got totally flooded and you have to reimagine how a society will be built on the water. So you give time to think about how maybe a political system will be installed if it will be installed, if there will be leaders removing this new society, if you would be able to find water or food to survive. So it's more like you take you to a space where you haven't been before and you are confronted to your survival skills. So this is what is about performance. So I'm Harry. Hello. My performance is called What We Old and it's about debt, obligation, owing. And it takes the form of a, it's a conversation, it's a conversational performance and it takes the form of a mock debt counselling service. So we talk through the debts, the obligations in the participant's life and then try and make a plan for dealing with them or trying to forgive them if we can. It's about 15, 15 minutes to 30 minutes depending on how much you want to talk. And yeah, that's it. Hello. So we are performing for SIP Fugitive Dance Company. The piece is called Island Dance with you at the end of. It's been created in 2014. It's been performed in more than one festival. And this piece is kind of a self reflection where one has a chance to experience oneself in a way one would not expect. And I'm trying to not do too much spoilers here but it does involve a bit of dancing, a bit of communication. And it depends very much on what our viewer brings us of how each performance turns out to be. Around 15 minutes. I'm Jo and exposure. I'm probably going to give you some spoilers, so sorry. The performance takes place in total darkness with a few moments of exposure or illumination, moments of light. And in the work I'm interested in how we look. So physically the mechanics of how the eye and the brain work but also how we look at each other, how we are looked at and what the difference is between looking and being seen. And so the darkness feels very important in that respect in that there's a provocation from me in the work about how we might see each other in a non visual sense so if we remove light, if we remove visual information then maybe that's the way that we see each other more clearly. And it's very, very short. 9 minutes. I'm the quickest. My name is Ciali Mborez. I'm coming from Spain. And the show is called Things Is Only Forgotten. It's a show for five people, 75 minutes long. And it's a show that I don't talk about it that much but it's about little things that surround us in their everyday life and will take that much attention in their history, in Spain but the thing that they are universally from anywhere and also linked with lots of pictures from a period in Spain that was really important for us and that it's still going on somewhere. I'm Cianek and I just bought some films on the flea market some years ago and I started to dig into this material and the show is around one hour for 15 persons and it's telling about this curiosity, about another slight difference what we could find there and why we dig for it what is if we meet the person in person after this experience. So I think that's all about it. Maybe I would start it also until we start the discussion somehow to see because this solo show now I see that it's one performance and then there's some more exploration pieces for the small number of audience but what was interesting for me was to see was that aesthetic need to do this sort of a situation or a production need because it does something interesting to the production value in a sense it's easy to travel but then there is no additional value to it and how does this combination especially in a festival kind of situation allows you to co-create this series of the audience and how did you actually, well the most bottom line maybe is how did you develop the piece and how did you and why did you exist in this specific situation between you and the audience member. I started making one to one performances because it was cheap and I had no money and I couldn't find any money it's actually, it's cheap in materials and very expensive in time so if you're willing to exploit yourself or you're in a situation where you cannot find good pay then it works very well and I also keep pursuing it because there is something inherently absurd and impossible and one to one performance refuses market dynamics because you cannot sell it, it does not function on ticket sales if you want to be paid it has to be funded because you cannot do enough performances to afford it so I enjoy this aspect of it that it is economically ridiculous so that says something about what art can be but then for this particular performance I wanted to make something about debt and how the idea of debt structures our lives and our thinking especially in my experience especially in historically Christian societies Christianity is a debt based religion very much there is a significant philosophy of debt in the Bible in Scotland the Lord's Prayer the big prayer in the Bible it translates differently in different places in England the English Bible translates forgive us our trespasses as we forgive those who trespass against us in Scotland it's forgive us our debts as we forgive our debtors so debt is a structuring idea this idea that you are always obligated to other people and that you want to own something or you own people and I think that structures how you think about things but also in the Bible I'm not a Christian by the way I grew up on a very small and very Christian island so I was kind of immersed in this the Bible is full of this idea of jubilee it's this philosophy in the Bible that regular periods people's debts would be forgiven and now we live in a debt based economy but we have no jubilee and jubilee was originally part of the functioning of debt in society but now we have no jubilee so everyone is just in perpetual debt anyway I wanted to make a performance about debt and about how debt influences our lives and I could not find a way of doing that in a performative big audience way it had to be a small conversation or I could not get the material I wanted to get to so that's how it became that in my case I do not only do one performance but most of my work is based on environmental injustice so in some way I'm trying always to find a new medium in order to bring change into the spectator when you work with a bigger audience it's difficult to have like a dialogue in depth with a participator so the format of one-to-one for me in this case was important because the construction of a new future it should be like a very intimate moment where a person can actually feel humble and exposure his most secrets about himself and also how he's confronted with society and what would be somehow the thing that he would miss if he would not be there anymore so I think the format of one-to-one in this case it's particularly important because of the conversation that gets into a more deeper level and also because I'm working a lot on individual change because I believe that it will do all change to matter and I feel that in this way if we work with one-to-one it brings even more opportunity to raise these changes in between people so first of all I'm not sure I can give a perfect answer for this because we didn't create this base so it was created by our director, Silke Gavigan and I can share what I remember of what she told of the creation and the first thing I do remember is that she wanted to create something short and personal for one audience so it was a goal to create a one-to-one performance and the idea with the things that happened without spoiling too much was coming from the fact that she had a twin that she ate in her mother's belly and she never got to know but she had this feeling of there is another version of her which was part of it and the other part is the thing with the mask how these things in the... as you look at yourself as you look at yourself in a mirror image because it's not a perfect photo or something it's immersed and in this way looking at the person is kind of like me but at the same time it's not me but reminds me very much of me like a twin and to bring this in a very personal level would be the nice way to do it would be the one-on-one thing Well I would say that I did not want to make a one-to-one performance I mean for some of the reasons that Harry said it's very... so that's just a practical thing but I guess I also felt a resistance to the kind of presumed intimacy that that format often sets up and even though I am interested in and I think the performance is intimate sometimes I worry that it's too easy if you just have one audience member at a time but I'm always trying to circle the content until the appropriate form of the work until the work tells me what form it needs to be and in this work I was really just continually fascinated with the experiments of having an eye test in the opticians that you go into this dark room with a stranger and they really look at you or they really look into you but in this very narrow lens of medical examination but having been in those scenarios as a child how sort of thrillingly intimate they felt that you would have this stranger kind of brush against your face with this light so I suppose this was always this kind of vision that kept repeating so it had to be that, unfortunately Well, there were different things one is that I created the show when I was brought completely without... I had necks because of my last show so I couldn't work with anybody I did theater on my own and I rehearsed with the audience in three months I was rehearsing two weeks on my own one week with the audience and that was the way it ended then I worked with theater of options manipulated options and I never put work that much on the way I wanted because I like a lot working with little things but always you need like projections of the way of working with them so people can see it for once I thought, well I can do it in the way I want to do it and also the kinds of materials I really want to talk about it's about memories it's about what we have in our pockets so at the end I thought the simple way to do that it's like I thought it was at home with my friends and that's why I thought five is a nice number because they can sit around they can see me and it's like family for a race so at the end it was a coincidence let's make that very easy to rehearse, to create it and also to go around and for the show actually it's the way it has to be that so in my case it happened that I never before did such form like speaking to a small number of people I even didn't sign myself on the posters like Janik Torkowski because I always thought that it's not if you have different names and different names of the projects and so on but since this personal experience started to be quite intimate and strong on the line between the person who was an owner of all those films I started to feel that I need to give as well something from myself on stage before I didn't know that it will end in such format like talking to the people I thought it might be a documentary movie when I was recording all the meetings and so on and later on I figured out that it has to be some kind of a balance in this situation to pick up somebody's life on the film market and then you talk about this you make money out of that because it's a show you ask about this aspect so of course it's very easy to do to make somebody's life as an object to sell in a more avant-garde way but still you are being with somebody's private things and they just end it in this situation where I had to disclose myself and they felt naked at the beginning and so on but come on and then you're a folder guy and you can handle it that's the story I really like what you said about the exploitation of self because there is a nice binary that happens in the sense that you do a lot of labor and work throughout the day but in the sense you are exploiting yourself as much as you're exploiting your audience member and it seems that at least the performance that I've seen is one in one it's exploiting the audience to create your narrative in your sense I tried you with the material, the content of the debts with you to really go there and with you you ask at certain days to be watched so it seems that this is a creation of exploitation in the sense and the other thing which I would now like to open up is this question of intimacy because on one hand there's two people in a shared space especially because it becomes a little bit personal to the audience member but what I find a little bit funny is that you have the appointment you know, and especially you know that this is just your 8, 10, 20 minutes and yeah I like the complexity of it and I don't know how you feel about it it is a sort of fake intimacy that you have to chip in just in this very short moment in an optimal or just references really kind of grow there a good doctor's appointment well I'm also really fascinated by this kind of friction because it's both true and not true it is unique but it is also repeated and so and I guess I'm curious about this line of intimacy and personal, like these words creating intimacy, exploitation, personal and I guess in the content of my work I'm interested in how much can you be seen how much can you ask of someone and actually when is the kind of stubborn line that says this and only this or this moment and then it's repeated to someone else and what's going on and part of this too when I see long-term performance I have this desire for it to be for me and is that because we're living more often in societies where everything is mass produced or what I'm interested in from the audience and I'd like to hear from the audience later maybe what that desire is to see work in this format so I don't know, for me it's still a question I don't think it's as unusual as you might be implying I think our lines are full of this kind of intimacy I don't know, I have been going to therapy for 10 years I'm very used to the idea of paying somebody to pretend to be my friend for an hour and this is also what theatre is we pay to come and watch some people pretend to have emotions, that's it but I do not think it is a false intimacy I think this is the intimacy that is available that when there is a clear exchange it enables a different kind of intimacy a very bounded and regulated kind of intimacy to take place where the people kind of understand what is happening this is why people visit sex workers because they can have a bounded sexual experience where they know what is going to happen and everything is decided in advance well, it's been more complicated than that but yeah, in my performance I've seen a lot of one-to-one performance where there is hugging or lying down I like this stuff where people are really trying to really be with that and I think this is already absurd we know that this is a fake situation we know this is a repeated situation all situations are fake love is fake, romance is fake so in my performance I begin by trying to create a kind of barrier so I do not look like this I'm wearing a suit I'm not talking like this I'm talking in a very serious British accent kind of conveys authority so I'm trying to be an authority I'm sat behind a desk I'm creating this barrier because if I put an authoritative barrier between me and the audience member then across that barrier an actual conversation can take place they can trust me and we have acknowledged that the situation is absurd we have acknowledged the situation is fake and once we have done that then we can have a conversation I'd like to speak just for our performance now because I think that our performance when you come in like I don't want to spoil it but when you come into the room I think you kind of forget that this is an appointment because it can become very very intimate and very emotional and I think for most of our audience members they're just living in the moment and they kind of forget what's happening outside or at least that's how I see it because for me the most interesting part of this one-on-one performance is that it's so interesting because every time it's totally different and every time as performer you have to react on what the audience is giving you and every audience member gives you different things to work with and this is the most challenging part for me and also that in this one-on-one performance when you come as an audience member you kind of are forced to also react and to also participate in the performance which is not always the case because when you go to the theater you just sit there and watch the play and afterwards maybe you talk with friends or you just don't talk about it because it was shit or whatever but in all performance you kind of you have to do something and this can throw people off so they maybe are scared or they just don't talk with us but some people really open up and they can have a really emotional things and really awesome things that I think are like the core of our performance Just about this whole intimate thing that it's really... it gets just as intimate as as our viewer chooses to be and we've experienced both things when we really did exploit them as you said so we really took everything they give and created the whole thing out of it and there are those people for some reason they just sit back and they want to be as far away from our performance as possible to not be part of it, to not get intimate and then this is something where I guess it's kind of turned around that I feel like I have to produce something because I'm not getting too much and as she said it's really changing with each person that comes into the room of how much it's going to be I take from you what you take from me and how intimate or how personal you want your experience to become Just because for me it's like every... when the person comes into the room sometimes I feel the energy from the other person I immediately feel some sort of connection to the other person some it's just nothing it's just like a wall and they just look at me but they don't give me anything and that's so interesting because from the moment they walk into the room there is some kind of energy there or there is not and so I think it's a very interesting aspect I'm thinking about the use of exploitation because I don't totally agree on this word when we talk about exchange because for myself when I decide to take this position and do a performance one-to-one for me it's more as an exchange because when you decide to actually commit yourself for such an intimate moment and it's really hard work as we all know to work in depth with eight people per day but I don't think that we are exploiting each other I think we are actually exchanging knowledge and I would say that it's when the person also decides to spend half an hour with that person is a liberated choice and I think when we are sharing a sort of dialogue you pose questions but the person is also able to pose questions at least in my case in my performance so it's up to the performer and to the spectator to choose how they want to interact and what they would like to do when there is not really a script I talk for my performance I do have a sort of guideline but it's much more about what happens in the dialogue so the dialogue can be very fluid and we can actually go towards different directions and every person that will come it will be a different future and a different story so I would more, in my case I would not like to use the word of exploitation in any sense because I see it more as an exchange Maybe this is a good now way to connect with because we talked about the audience experience and how the voice, the performer's experience and what you do with the material that you have and collect through this all of this appointment and sharing it and that you need to do and do you break your present progress with the performance and more experiences do you get that or do you collect it for some other project or ways to make it more complex? I think for me from performance to performance I get more creative because I see what people could be willing to give me so I kind of react to that and it's just a game experience and I just get more ideas of what I could show them or what I could trigger them to participate in the performance game I'm an obsessive I'm a documenter of my work in general I just document obsessively so for this performance and it is part of the performance which for me it's not finished in the room I often have longer email exchanges with my participants if they want them because I send them a record of our session and then we talk about it so you can find them on the website you might try and print it out for the room I have these complicated reports of everything that has happened in my session with graphs and charts and numbers and all of this so I do collect all the information and anonymise it and turn it into reports of the performance so I do this but then the other thing that's going on it's to do with rehearsal and practice and what you were saying the longer I've done this the better I have got at it and the best performer in this performance is to as quickly and as effectively and as kindly as I can to get inside somebody and break down whatever barrier they have and open them up and hurt them and then heal them again, that is what I am trying to do in 20 minutes sometimes it works and sometimes it doesn't work it depends on the person but I have to understand who this person is what they are bringing to the performance and so I have got better at that over time and I can do that more efficiently but then when you get efficient at it you start also to get complacent so sometimes you can just go through the motions and forget to really pay attention to somebody and look in their eyes and think this is where I can reach inside you pull something I am sounding very cynical at these answers but actually I don't know you'll have to talk to people who have done this session I am kind and nice to people in a very silly way but inside I am thinking in my case it's a performance about that also brings the question about the relation between human and nature I think for me I am not really interested about the documentation of the project for me it's more about what happens to this person afterwards so this change that will come afterwards when the person leaves the performance and you'll think maybe later on in few aspects if it goes back in trajectory in the way that this person is relating to nature and how he is inserting into a capitalism form I would more think about what happened after to this person as a maybe documentation, walking documentation then for the documentation of the project itself I do record the performance but I do not use the footage in any way I think what I only do is that at the end of the week I kind of write down the things that had changed for me throughout that the people said to myself that somehow touched me and I could text out of it so that's how I kind of document the performance I think like Maria I'm also not interested in a way of documenting these experiences because because for me if it's working then it's working in that live moment and I love the ephemeral experience in my work I meet you once in a moment of light and that's what we're left with so this is like a camera flash and it lasts for a few seconds and for me that's what I take away I don't remember everyone's face but I kind of feel like well I feel quite privileged to have done this performance many times and had these faces appear out of the darkness and I used to give people a piece of paper where they could write back to me because there was this people don't speak in the performance it's quite choreographed and it felt like people wanted a way of replying and I think they might but for me I just wanted to be held in that live ephemeral non-held moment I try to work and I perform a lot also and it's quite long show and I work with lots of things I try to work for example as I'm working with things from Spain it's very interesting to see how I have so many things in common and I try to do that with the little movements that the little things give us so that's for me a nice way to communicate to the audience and that keeps me working like in Brazil that I do not do something mechanics because I don't have that kind of interactive relationship with the audience of course we talk sometimes some bits of the show but I work mainly I don't know not all of the show most of it is on silence I'm using really I have to be very attentive of what people are having emotionally and also what are they understanding from what I'm playing because I'm really playing with lots of little things so I'm giving them lots of inputs so I want them to travel the way I've been travelling around through the audience so I try to do it in a way that people can get with their child when you discover something because you're travelling or because it's first time doing something or because it reminds you of something so this is the way that keeps me working and also makes me want to do that again because it's really not to work I have to leave sorry I'm the first one doing this storytelling format which is in the form of home movie projections you meet with your friends and you perform in film and during this film you can talk as well but for most of the time I'm the one who is speaking but later on people have time to talk and very often we stay longer and then they share and this is everybody's photos, albums and so on so it's very easy to find something to give from themselves and during these last 7 years they gave me so many stories that I have an additional story later on to tell you talk about the TES you talk about photos, black and white photos so there are real stories from the audience sometimes using them as well as examples of something which I had in there in Berlin and other cities so they can feel that it's not that they are not alone in their experiences but it gives as well the feeling that we build society people who have a very sensitive memory and we are attached to some personal things in a certain way so I think this is what they give me what they give me always and I try to give it further during this meeting I just had this thought right now about documentation we do make a picture of everyone that we perform for and of course we use it for absolutely nothing and we absolutely don't publish it because I realized it became kind of a side dish if the performance is the main course my side dish is to just flip through these pictures as we are always a team but one performs one talks with the audience to clear up what's happening and at the moment now on the computer we have around 200 pictures and I flip through them and I remember I come with a different emotion a different memory and funny enough I do remember all the performances I remember if I talk to this person or if I perform for this person but it's kind of like an extra thing that I just get out for myself from this performance maybe I would open the discussion for the audience because I just realized that it's much more suited than this type of discussion so if anyone has a question I think it's a good time I would just like to finish this round with a question that was passionately answered it is for you personally what sort of an outcome are you wishing for for this performance what sort of a trigger you want to kind of evolve or what would you like to provide for your audience in a most ideal way I think it's about the change about the way we live with capitalism system and political system with how we deal with nature and how we are growing towards collapse if we don't do something to change now so I think what I aim with this performance is to bring somehow individual change but it's very subjective so this is my hope to bring to people and I'm very sorry but I also have to live now I want each audience member participant to be more awake to how the idea of obligation is structuring their life and the idea of debt is structuring their life I think most of the people I think a lot of people kind of walk around carrying weight of obligation like all the conversations I have with people are like oh I feel like I should be doing this for my mother and I feel like I should be doing this and I don't, I'm not politically involved enough oh I have so many carbon emissions like I want people to be a bit more awake about how obligation has structured their life and that I want them to feel a little lighter about it and my personal mission is to try and get people to forgive themselves for something I want them to let go of a debt I don't always manage this and sometimes they don't want to and that is okay but if they have not forgiven themselves then I at least want them to feel a little bit lighter about it although sometimes I watch and they look heavier because I've made them remember so I'm trying to make them remember and then feel lighter but sometimes they just remember and then feel terrible I think my main goal for the audience is just that they have fun and enjoy themselves and I want to give them space to do whatever they feel like doing and to share whatever they feel like sharing to become emotional to have fun to have a conversation and what I personally take out of it is I think every time someone opens up to you and just talks to you about their feelings you gain something whether it's in the frame of a performance or do you just talk with someone and I think that every performance I do I just meet another person and I get to know this person a little bit and I automatically gain experience from that and just by interacting with this person and that's what I find very interesting In my case this ideal impact on audience will be very banal very spiritual I'm trying to say to the people that all those documents all those photos and all those memories we collect they are just we expect that they will last forever or we will have 80 years old and we will sit in front of the TV and watch them once again and then remember stories and so on but it's actually very easy just to be away to be able to participate in your past so it's famous here and now it's most important and so on it's something about that I'm not talking about this in direct way but with many examples of the person who is attached to the memories and looking through the photos and he's obsessed as well with the documentation of dealing with it because once we need to leave this place for good and probably this exercise in theatre is sometimes quite good to imagine how it would be if we are about to leave I would say I don't want a particular outcome but I definitely have a particular request or provocation which is I agree to in that moment try and be there and be seen as much as that is humanly possible and there's the opportunity for that person in return to do the same and for us to see each other but I'm not really attached to whether that happens or not I like it to happen of course I think it's good to be seen but I think for me this is what we're always battling how possible is it to meet someone across this great divide of two bodies and for me it's as interesting when I notice someone holding back not wanting to look at me because this is also the outcome this is how it is to live in a body that has a skin membrane that keeps you solid so yeah for me it's about I guess Maria was talking about exchange I would also say like invitation here's an invitation to look and then dot dot dot yeah I'd like to ask since here in Romania and I can say in the region because I've been also working in Hungary these kind of very intimate performances are not that usual and this form is not that practical so I would like to ask what is your experience of the audience till now of an audience who is actually not used to this or most probably not familiar at all so we had two days so far and two very very different days I don't know if it's the time of the day that is different because we do perform at daytime this time or the region or the people if they are so used to theater and so used to sitting back but on the first day we did get very very surprisingly passive people and it was a real change to perform because it was you know like you we would have to get the information out of them with a full warm up we really need to treat them to be part of it and on the other hand yesterday was a completely different day where we had audience that was really participating who was active, who was responsive who was unexpected even so I did question myself is this is something to do with the region if the people are different I don't know like first day maybe only passive people want to get over it fast and then the more excited people want to get to the end I don't know what is the thing that changing what people come but we have two very different days we are also looking forward for today like the people of what they are going to bring us today it's not very accurate to your question because there was around 12 persons in the room so I did figure that they start to clap and it's not very often that it's normally they happen it happens that people stay inside but this time there was the beginning of the theatrical agreement that at the end we need to bow so I stood up and I started to bow and so on but I didn't feel very much different I felt that people were engaged into the story the same as everywhere so maybe it's more to whom perform one to one I would say I mean it's also I've only done two days so I'm interested to see how the week goes but I was thinking about this and whether this style of performance is as usual here as in I mean I would also say it's not very usual in the UK but it exists I guess I'm always excited when I think that someone is in the room and they don't know how to be maybe I'm more excited by the less nuanced theatre goer and because it's well not easier but it feels more possible everything's up for grabs so that tentativeness or worry or excitement is more kind of palpable I think in one to one performance there's often the idea that the audience because you're really visible often even in the dark you want to get it right you don't want to do the performance wrong and so sometimes that can make a kind of passive engagement and here I think maybe there's more people who don't know what the wrong or right way of being the audience is so for me that's more interesting I suppose but I don't know it's only day three so I've done this performance as well as here I've done it in Slovenia and in Latvia sort of experienced it in different cultures before and the first thing I found out is that British people are the most guilty so it is sometimes it is a little harder in Central and Eastern Europe because people do not seem to be as guilty all the time as British people are just walking down the street just loaded down with guilt all the time they're always feeling guilty about something constant guilt is something to do with our society the second thing is that I don't find these audiences harder to get participation from and I'm not sure why that is it might need to do with my performance which is actually a very familiar setting to most people because it's like visiting a bank manager or a counsellor most people have had a situation where they sit opposite somebody in the desk and have a conversation so the first sort of minute is often a little bit tricky but I can settle them down there's no conversation, there's no problem at all so I don't find any trouble in participation but the one thing I do find and I think this is because it is less common here than in Britain there's not that many people doing one-to-one performances but if you go to a contemporary performance festival in Britain there is usually at least one-to-one one-to-one performance I think in Britain I often encounter the kind of participants usually men who sort of sit down and they're like I'm going to do this performance so well I know what you expect and they want to trick you or they want to beat your performance somehow they're trying to win because they think they are experienced at one-to-one performances so they're trying to win this is the most annoying kind of participant but they're also the most fun to break because I'm like oh you're going to beat me I'm going to beat you I find a way to try and twist them and make them feel more uncomfortable than they expected and that has not happened to me in Central and Eastern Europe I think because the four men is less familiar but there's always one every day in Britain they're trying to win