The French term infini also refers to painted stage backdrops that unfold their full effect from a central perspective, suggesting an endless landscape or an endless space. It is a device that challenges the infinity of the imagination far beyond the actual stage architecture, positing the theatre as a place of limitless possibilities. And what Brussels-based artist and stage designer Jozef Wouters has undertaken with his work INFINI 1 – 18 is in a way magical, too. Drawing on concepts by contemporary theatre makers, he has been creating an ever-expanding collection of infinis at his workshop since 2016: diverse contributions to his quest for stage landscapes that are of relevance to us today. For the Wiener Festwochen, choreographer Amanda Piña has added an 18th part to the 17 existing ones thus far. As a result, the theatre machine runs at full speed for three and a half spectacular hours, showcasing one stunning setting after another. Without any actors whatsoever. And yet life itself drifts in through the doors opened out towards the city.