Devised for young audiences and winningly combining light, words and sounds with elements of parkour, contemporary dance and hip-hop, ›Luceo‹, follows four dancers on an incredible journey in search of a magical source of light. Framed by a strikingly stage set made up of versatile geometric shapes, their adventure takes them through radiant nocturnal landscapes and firefly fields. Along the way, they learn to overcome difficulties and to both trust one another and their own feelings until ultimately everything seemingly circles back on itself and they are back where all searches begin – with their own selves.

LUCEO is my first piece for a young audience. It interested me and us as a team to create an entertaining, multi-coloured piece, which is oriented towards children's ability to associate and fantasy, without being instructive, and instead works through imagination and the magic of theatre. Therefore, this play does not tell a concise story, but rather creates a journey through different "landscapes", in which each viewer, regardless of age, can discover different narratives.

For this aim I teamed up with a very experienced and diverse team of artists: with co-director Hannah Georgi, director of many award-winning radio plays, stage designer Doris Dziersk, who has worked in numerous Meg Stuart productions (among others), sound designer Katharina Pelosi, who works with artist group Swoosh Lieu, as well as a team of performers from contemporary dance, hiphop and urban dance.
Together we attached great importance to sensual perception in this production: with specially recorded sounds from the city and nature (which are partially recreated at each guest performance location), with abstract stage objects that enable surprising appearances and changing sceneries, with "magical" light effects and a choreography that is oriented towards both Western dance theatre and slapstick traditions as well as Eastern object theatre forms.

For me, this piece also builds a bridge between Germany or Europe and Taiwan or East Asia. It was a very joyful experience for us to see that the reactions of the children and families in the audience were almost identical in both countries, that basic things like laughter, curiosity, world experience and the magic of theatre function very similarly in such different cultures. For me, this is the core of my work with Polymer DMT: to discover and use cultural similarities and peculiarities, and to create special artistic moments out of them. I understand this also as a very political work, both for my "adult" pieces, and - especially - for children.

- Fang Yun Lo