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"Pussy Sludge" at the Munich Volkstheater: The miracle of femininity

2022-09-26T15:30:57.434Z


"Pussy Sludge" at the Munich Volkstheater: The miracle of femininity Created: 09/26/2022, 17:12 By: Michael Schleicher A strong performance: Henriette Nagel in the title role of the German-language premiere of "Pussy Sludge" at the Munich Volkstheater. © Konrad Festerer/Munich Volkstheater "Pussy Sludge" is the second premiere of the new season at the Munich Volkstheater. Director Mirjam Loibl


"Pussy Sludge" at the Munich Volkstheater: The miracle of femininity

Created: 09/26/2022, 17:12

By: Michael Schleicher

A strong performance: Henriette Nagel in the title role of the German-language premiere of "Pussy Sludge" at the Munich Volkstheater.

© Konrad Festerer/Munich Volkstheater

"Pussy Sludge" is the second premiere of the new season at the Munich Volkstheater.

Director Mirjam Loibl staged the German-language premiere of the feminist play by US author Gracie Gardner.

Our criticism:

All this Eso stuff with its "My body is my temple" flute, all this optical optimization lust on Instagram and Co. - in other words, all the mendacity about human (all too often: female) anatomy, the Munich Volkstheater is now screwing up one fat portion of mud in the visage.

Good this way!

Although Mirjam Loibl's production of "Pussy Sludge" should have been even more aggressive, demanding, wacky and much louder.

The director set up the German-language premiere of the play by the award-winning US author Gracie Gardner, who was born in 1991, in the house on Tumblingerstraße;

on Sunday, September 25, 2022, was the premiere on Stage 2, which received a lot of applause.

"Pussy Sludge" at the Munich Volkstheater: a surreal ride

The medically correct translation of the title of the play and the name of the main character is "vaginal secretion", which Gracie Gardner uses as a metaphor: Crude oil gushes out of Pussy Sludge's vulva.

Sounds silly, but gives the writer the opportunity to tell very explicitly and yet elegantly about bonds from being a woman.

Because she sends her protagonist to a swampy national park, where all sorts of figures appear - just to tell her what to do.

Above all the men see insane earning potential;

others want to display them as tourist attractions;

her mother, on the other hand, is primarily interested in the child finding a good match.

Her sermon culminates in the advice "You have to become self-confident, self-confident as a man" - and overlooks

that her control limits the daughter's development the most.

In short: Pussy Sludge is a projection screen for many and many things - only she is not the master in her own house.

The French author and filmmaker Virginie Despentes characterized public perception of the female body as “as if we had enormous, indefinable natural resources at our disposal”.

"When the world is so interested in you, you end up wondering if there isn't something rare and precious about you - how else to explain that all movements that wish freedom dead want to know so exactly what we are?" with our identities, our lives, our bodies in our bedrooms?” “Pussy Sludge” formulates this question using theatrical means.

Munich's Volkstheater shows the German-language premiere of "Pussy Sludge"

The piece is a surreal ride.

However, it has – at least in the German translation – a few lengths and platitudes, especially in the first half.

The ensemble plays full of verve and fearlessly against it, but everything remains very conscientious and a bit conservative, especially at the beginning.

Here it would have been up to Loibl to turn the lunatic screw, increase the tempo and exhibit the madness of female appropriation by external interests even more brutally.

The fantastic stage design does exactly that: Thilo Ullrich took the anatomy of a woman lying on her back as a starting point - including movable arms up to the ceiling of the theater, glowing ovaries and nebulously wafting sexual organs.

Whoever performs here is trampling on this woman.

Munich Volkstheater: The ensemble of "Pussy Sludge" convinces

Henriette Nagel in the title role is on stage for the entire 90 minutes and delivers an energetic performance in which she cleverly designs rather bland text passages.

Luckily the lyrics become more substantial towards the end, giving her a much better place to talk about her character.

Nagel has a strong partner in Anne Stein, who already impresses in the house as Lady Macbeth, and Lorenz Hochhuth convinces with her insane changeability.

In one of the strongest scenes, as the divine power, he offers Pussy Sludge the sword to fight for her rights.

She refuses the gun.

Because their freedom is a matter of course.

(More theatre? Read our reviews of the Munich premiere of "Angels in America" ​​at the Residenztheater and the season opener of "The Lost Honor of Katharina Blum" at the Volkstheater here.)

Source: merkur

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