Mesut Arslan directs BETRAYAL, Pinters classical play about a triangular relationship that goes against time and starts with the end of the adultery. People are not only betrayed by other people but by time and it is this aspect that Arslan wants to develop.

Starting point is the installation of Lawrence Malstaf ' NEVEL' that constantly recreates space and in this way reflects the game of time and memory.

text Harold Pinter director Mesut Arslan scenography Lawrence Malstaf dramaturgy Ata Unal actors Dennis Deter, Lotte Heijtenis, Thomas Proksch light scenography Jan Maertens soundscape Charo Calvo  costume designer Rike Fischer technique Turan Tayar production OnderHetVel, Platform 0090 coproduction Toneelhuis, t,arsenaal mechelen, TAKT Dommelhof, wpZImmer, Istanbul Theatre Festival
 

"Memory is the ability of a person or animal to remember information. It covers three main aspects, namely the storage, retention (or storage) and retrieval of information. Learning is the process by which new knowledge and skills in the brains is stored. Forget is the process by which information in the memory is lost.
Something better to remember is sometimes a mnemonic used. The memory of man is not perfect and sometimes we believe things to remember those who have not taken place.
Actually there are two different formats. The first and most common classification is based on the aspect of time or duration (sensory, short term and long-term memory). A second classification is based on the aspect of perception, namely whether the memory explicitly (or conscious) or implicit (or unconscious) is.
Knowledge is the memory that must be retrieved or searched (English: retrieval) .. The knowledge is then updated. We talk of such recognition or memory. It reacts more quickly to a word or image in advance if this is offered in a particular context. The memory of man is not always reliable. Sometimes people believe things to remember that never took place.
Knowledge stored in declarative or explicit memory is explicitly present. This means that we have this knowledge (images, facts, feelings, etc.) can call into our consciousness. A reminder, for example.

Knowledge stored in the non-declarative or implicit memory is implicit, which means that we are not aware of the knowledge stored in it.

It has been shown that in the brains separate areas and circuits exist for the formation of the declarative and non-declarative memory.
How does time works as a Betrayer? How memory constructs between conscious and unconsciousness.
Harold Pinter shows in his play Betrayal, that men betray not only by other people, but also by time. From this starting point Arslan is examining the elements of time. What is memory? How works the unconscious while the throughput of our consciousness is only a fraction of our total capacity? The work of Lawrence  Malstaf 'Nevel' is the standing point for the relationship between dramaturgy, performance and audience.

Audience and performers in a system where we can play with time and memory in ‘constantly changing” space.

Lyrically, this also means a major challenge, which is attaching 9 scenes together and then one step further; putting Time not in a linear river but as a circle around the performers would cause disappearing of remembering and declarative memory.

Like a Flashback or Déjà vu. And by injecting every scene into each other we will search another "fairness". Because "fairness" is not what we after the happening can modify or change, it is there in a moment, keeping all data and facts. As a decision or as conscience?