Halma is played for nine days behind closed doors in the basement rooms of the Podewil, which are lin­ked with one another by openings, porous walls and pipe systems. No more than 30 escapees a day are admitted to this refuge whose internal membrane is covered with a network of loudspeakers, cameras and monitors. They are inside the shelter, a labyrinth of memories, dreams and perceptions. Even though their escape is only from routine, they watch over their subconscious like a cat waiting to pounce. There are situations in which you are obliged to seek refuge by escaping from a threatening environment. That for­ mer environment then becomes the outside world. You focus attention on yourself and become sensitive to your immediate surroundings. Memories and dreams become inextricably bound up in a labyrinthine world of experience. The recording of a game of halma involving all the performers is disconnected, split up and put out on projectors and monitors. This material provides the starting point for the formal pro­ceedings. Live cameras observe and follow the musicians and objects in the individual rooms. They make it possible not only to project everything that is going on into all the rooms, but also to contrast the live dimension with the immediate past. The perspectives change constantly and, in turn, generate new comments. Three different audio systems are installed, which impact on each other. They form the links in a sound chain which initially spreads out via very fine series of loops and subsequently passes through dif­ferent stages between installation and concert. At the points where they interconnect there are overlays, insertions, eruptions and confrontations.