The article provides a contemplation rather than a conventional review of the mono performance 'Viltvārdis', staged by Reinis Boter. It delves into the impact of the performance, which is framed as a documentary hallucination that draws inspiration from an audio cassette recorded during Boter's childhood. This cassette ignited what is referred to as 'acute impostor syndrome', prompting the artist to reconnect with the creative freedom of childhood while discarding adult notions of shame and artistic elitism. The reflections from the childhood cassette are echoed in the performance, contributing to its unique narrative.

Boter's work is described as an exploration of childhood memories, inherited hallucinations, ingrained shame, and the absurdity of ego trips. With dramaturgical consultation from Austra Litauniece and costume design by Elīna Pērkons, Boter seeks to present a nuanced understanding of how the same performance can evoke diverse interpretations among audiences. The author emphasizes that their aim is not to assert a singular correct view, acknowledging the plurality of perceptions that influence the reception of art.

This discourse on artistic perception highlights the importance of individual experience in the appreciation of performances. It suggests that the value of art lies not only in the artist's intention but also in the multiplicity of audience experiences that arise when engaging with creative work. Ultimately, the article serves as a reminder of the subjective nature of artistic interpretation and the rich dialogue it fosters in the realm of performance art.