1. Translated version of Review by Charlotte Riggert (01.06.2017)
„Unsex the bitches“
Torn between lust, guilt and empathy. “The plague of desire. Portrait of a disgusting pig as performed by 3 sexy bitches” by Jahman Davine in Acker Stadt Palast.
As the subtitle implies, “3 sexy bitches“ appear in half light. One of them ignites a candle and blows it out again (immediately). Darkness. And the booming bass sets in.
An effective opening scene for the portrait of a young man who desperately tries to find an approach to his almost uncontrollable desire, being torn between chaos and order.
This scene also guarantees the three performers Tania Giovo, Edith Buttingsrud and Helena Wilhelmsson who dance the portrait, with the most complete attention. Theatermaker and Choreographer Jahman Davine places them in the center of his performance, without patronizing them.
Although he is responsible for scenography and choreography, the independence of the performers, who all seem very charismatic, can be felt at all times.
The scenes gain a clearly theatrical dimension through the inclusion of narrative texts. However they are still mainly supported by the movements of the dancers, which, sometimes wildly, sometimes delicately, sometimes exaggeratedly grotesque maneuver through the topic of the evening.
The torment, the inner strife of the young man who is kept anonymous becomes visible through their bodies. They wiggle, beat themselves and repeat movements until exhaustion.
The dance sequences are interwoven with humoresque statements about the female body and the learnt dealings with it.
In a scene, Edith Buttingsrud explains the body of Helena Wilhelmsson, who is given immovable, stereotypical over-painted features through a mask.
Buttingsrud dissects every feature of Helena Wilhelmsson always with sexual connotation, leading the sexualization of the female body to absurdum with her slapstick-like interlocking in the word ‘pussy’.
A constant wavering between joke and seriousness dominates the perception of the spectators boisterous amusement spreading through the audience. for example in one of the opening scenes, when the young man, whose psyche is extensively dissected here, is born and Tania Giovo with infant mask that is distorted to weep, sulking/offended and accusing, tries to get back to the mothers womb.
But the seriousness quickly finds its way back as soon as the man reaches the age of awakening sexuality. The three performers describe in their mothers tongue, Italian, Danish and Swedish (with subtitles) three possible plot variants based on a marginal situation and thus a point of divergence of the unbridled lust a young man has to fight with.
The young man walks on a dark street, behind him a woman. He turns around and plays through the scenarios of rape.
Expecting the worst, it is surprising that, finally, the ability to empathize with the frightened woman wins and the thought of his own sister and female friend in the same situation is the decisive factor for not giving into the uncontrollable.
This highly reflective point of view in the thoroughly feminist performance continues when the three sexy bitches, who has previously been caricatured by lascivious poses as seducers, now cut off the apples from paradise, hovering on nylon cords from the ceiling and dropping loudly cracking to the ground.
The plague of desire is defeated by the self determined women.