In “Semiotics of Dirty Work” – as the title translates in English – the mothers and fathers of the performers who meet on stage, have already removed the dirt from the dead ends of institutional power structures. They have silently served hors d’œuvres at premiere ceremonies, took on the maintenance of sports cars worth their annual salaries many times over, and so on. The lives of the second generation also unfold outside the gaze of the dominant society and they, too, are condemned to dirty work. In her third HAU co-production, Nuray Demir, along with Minh Duc Pham, shows how this generation also uses the aggressive all-purpose cleaners of cultural studies to make the white cube shine and gets rid of the toxic waste from the theatres without protective suits or labour unions. In order to reveal how stubbornly ideological deposits root in institutions, they present a semiotics of dirty work.