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Kammerspiele Munich: Idiosyncratic nude performance about love

2020-10-19T16:16:30.020Z


Lots of bare skin, loud music and rough pictures of men: “Love. An argumentative exercise “Premiere.


Lots of bare skin, loud music and rough pictures of men: “Love.

An argumentative exercise “Premiere.

She thinks it all sucks.

Olivia Öl makes this pretty clear to us when Kammerspiele new member Johanna Eiworth spent herself on stage on Sunday evening.

In this “argumentative exercise” about love, the naked protagonist almost bursts with anger and disgust and self-hatred and hatred of men and women and hatred of the whole world.

According to the program, Sivan Ben Yishai wrote “in a revealing, glaringly funny way” about chauvinistic patterns and blind spots in our way of loving.

In some moments this is true, but most of the two hours (without a break) you sit there, blown away by the combination of loud music, text that runs as a banner across the set, the Alexa computer voice from off and finally Olivia Öls Nude performance.

One sits there and is one thing above all: annoyed.

Why this aggressive bitterness?

Although you know that a lot is true.

Yes, there are heavenly injustices between male and female life in this world;

there are obnoxious violent crimes committed by men against women;

Even in our society, which is apparently so progressive in terms of gender, there is still the stereotype of the good female that is exemplified by young girls.

All right.

But, my God, do we change that with aggressive bitterness?

And: what about the other side anyway?

Yishai only stylizes women as victims.

The strength and power that they too can play is only hinted at subliminally, if at all.

Instead, Eiworth has to put on a blonde wig and give the dumb-cheeked chick.

According to the motto: Anyone who fits into this role will be successful with men.

Have we not already been further?

When does the old enemy image of man's intrusion end as an inevitable act of rape?

Yes, Olivia Oil is annoying.

And resistance stirs in the viewer.

Because it's so destructive, this always-on-the-twelve.

The thing with the "little one", for example.

Popeye, the over-man, asks her after sex: "Come here, my little one." She, the one in need of love, is happy and easily forgets the war between the sexes.

Can be called “little one” - how backward-looking!

Really now?

Too much self-pity, too little alternative

This self-examination has real moments - the fixation on a perfect body even in young girls or the tendency to mother men and forget about themselves.

When Eiworth / Öl at the end - after all the bare shadow boxing up to the standing splits - provokes the audience with the idea of ​​being able to display it because they have been viewed in this inappropriate way, you have to smile.

In the second moment, however, one fends off with indignation: one never wanted to see that.

Someone dumped all of their rubbish on you.

To what extent do we all co-produce this garbage?

No longer interested.

Missed chance of complicity.

Even as a woman, you don't want to have anything to do with this self-centered fighter.

Perhaps that is the bitterest realization of the evening: that feminism has to be more pleasing to get carried away.

Puking alone is not enough.

Source: merkur

All life articles on 2020-10-19

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