In Verk och dagar, Gunilla Heilborn , experiences from a journey to ancient Greece are interwoven with fragments from a fifteen-year-old performance. With humor and seriousness, Gunilla Heilborn attempts to untangle how all the scattered episodes she has collected are connected, and whether it is truly possible to better understand the world by reading both The Iliad and The Odyssey. Works and Days consists of two parts. In the first, we encounter grand tableaux with titles such as “A Place That Is Awful in Winter, Harsh in Summer, Never Pleasant” and “The Rosy-Fingered Dawn.” Through mist, haze, and music, two dancers move across the stage; let us call them Bleary-Eyed Sophie and Many-Worded Ludvig. With fleeting lightness, they wander across the stage, posing questions to themselves and to the audience. Do you get seasick easily? Would you describe me as a typical Renaissance person? That I have many strings to my lyre? Do you know what it feels like to drift in a ship frozen fast in the ice? In the second part, Heilborn herself navigates through earlier works in her search for a beginning. Drawing from the ancient poets’ epics, a recent journey to Greece, and her previous production This Is Not a Love Story (2011), she explores whether one event can be linked to another, or whether it is perhaps the absence of logic that defines everything we do. She compiles lists of ships that have sailed across the seas, and of things that have been done or should have been done. The essence of the work lies in its chaotic structure, yet certain elements recur in both parts: travel and what we remember of what we have experienced. As well as the question of whether it is possible to know what should be done on which days, and why. Space, lighting, and music play a central role in the performance and are created by Heilborn’s long-time collaborators Katarina Wiklund, Minna Tiikkainen, Mårten Nilsson, and Kim Hiorthøy.