The individual pictures form a spatial continuum, because specific figures occasionally cross the fictional room, moving between the projections. For instance, the arm of an actress appears in a neighboring image, in order to get a light from a man, who up until then has been isolated in the image. By using multiple projection surfaces, whose spatial arrangement replaces the framing device of the diegesis, the «aesthetic boundaries between stage and audience« [23] are transcended. This complex layout replaces the classical order of the auditorium, in which the viewer had sat in his or her own chair statically facing the screen; the new configuration allows for an all-encompassing scenario in which the viewer is involved in a performative sense, by means of his or her entrance into and mobility within this space, a space completely filled with projected images. Taylor-Wood’s layering of the individual projections succeeds at literally changing the black box into a party. Physical encounters, not only with the life-size actors in the

video sequences, but also with the other viewers in the room, permit the viewer to become aware of her own role as an actor within the circular projection space, reminiscent of an arena. [24]