Red Herring

Diederik Peeters is afraid.

He has a morbid fear of germs and contamination. He is terrified of heights, petrified of ghosts and scared by conspiracies. He suffers from severe paranoia, and is tormented – last but not least – by the holy terror of failing.

The origin of these fears: a niggling barrage of sound abusing his ears and mind from off stage. In Red Herring, Peeters is victim to the comical potential of irrational fears. Drenched in cold sweat he tries to overcome the ridiculousness of his obsessional and paranoid traits. It is a duet for performer and soundtrack, disguised as a solo, that tries to find out whether Buñuel was right when he stated that ‘sound stimulates the imagination more than image.’