Chuck Morris is inviting to a circle. Darkness.
There is a wind carrying both love and horror.
dmm dmm. dmm dmm. dmm dmm.
Alone. Just the two of us. Everybody.
In his fourth production, Chuck Morris stays faithful to the being of a duo.
Duo calls upon a state, a mode, a particular kind of devotion.
The things happening here will be of a kind that none of them will have been able to make on her own.
Sisterly tarantulla. Tentacles going all over the place.
Chuck Morris will stay together. 2getha. 4evva. ∞
This is why the duo practices its relation. Practices in
symmetry, partaking in loneliness, as task force unit.
BOO! Unexcited. Flat. Terrific.
While celebrating the duo, Chuck Morris embarks in its
exorcism.
This ritual relishes in annexing materials of preceding works.
Unbagging the cat: One. Two. Three. All ghosts set free.

See more: http://www.chuck-morris.org

Chuck Morris is a production unit based upon the duo as an aesthetic practice. It is characterised by haptics of antagonism, encounter and the unknown. With each work, the twin like figure learns something new – often going for unexpected yet helpful tools, such as learning how to be funny (Feminine Fun Studies 2013). Chuck Morris likes form and composition, with its style being shaped by material-driven processes. Chuck works in the theater mostly, and loves and hates it with its codes, connotations, overdeterminations.
The duo found itself 2008 between Cecilie Ullerup Schmidt and Lucie Tuma, who had met at the Institute of Applied Theatre Science in Giessen University. The double body is both a long-term relationship within the time frame of the next 40 years and a structure attempting the dissolvement of individual artistic identity.