Three screens occupy the stage. The harpist wanders among them, guided by a disembodied voice. She stops before the first screen: her image appears like a mirror’s reflection. A strange musical duet emerges between the living body and its virtual double. At first perfectly synchronized, the image gradually slips free, drifting away.

At the second screen, a new face-to-face unfolds. The voice-over takes on life, becomes a face; its presence enters the screen and spills into the space. Their dialogue revolves around the notion of accident: the image stutters, fractures, giving rise to a sonic world saturated with distortions.

The third encounter becomes a play of actions and reactions, leading to a final tutti — a quartet formed by the performer and her reflection, multiplied across the three screens.