For 4 at a time. The seated participants simply read, out loud, the words hi-lighted on the scripts they hold. By 'just saying the lines' all four readers find meaning and intention falling into place (despite no pressure to 'act' or correctly voice anything). What's said is an expression of the same doubt, curiosity and anxiety that can be expected of anyone asked to read out loud, in a group, without preparation.
The text seems to anticipate the readers’ thoughts at any given moment. The result is a sense of the script acting as an uncannily 'live' object; a text being written at the same time as being read.
As the first Autoteatro piece to function without audio or headphones, OK OK can be seen to treat printed text as a comparable if far older 'technology' (a pre-recordable, reproducible guide). Unlike the work with headphones however, the strategy is completely transparent. Everyone can read what everyone is saying.
This connection explores the difference between reading a play script, and a live performance where the reading out loud *is* the event - where people's efforts and the risks involved in getting involved are the point of the event: these may be referenced within the content (eg OK OK) or not (Your Words in my Mouth), but the fact is that the gap between the reader and that of the person whose words they are incorporating is never fully closed. The unrehearsed participant can never be a fully transparent 'servant' of the text.