2008. The time of rebel and revolution is over. Every act is prescribed as consume or production. Or both. Two doll-like women in pumps are stucked in a closed space of tick-tacing boredom. They don’t work. They’re not registered. They claim to be invisible. They are in the centre of attention. They change the world sitting on their bed.
Chuck Morris plays one excessive game after the other: laughs like machine guns, dances on the bourgeois buffet, dines without eating, runs in circles likes a circus horse. The piece is structured on the basis of an anti-dramaturgical series of acts in masturbation without climax. Dressed in yesterdays news, the duo investigates a post-revolutionary state of boredom on stage and asks the question “and what now?”
siebenschoenchen is based on the Czech nouvelle vague film Sedmikrasky (1966) by Vera Chytilova. The film gained international rewards but was banned in its country of origin. The performance siebenschoenchen explores what Sedmikrasky gains, as we – 42 years later and outside of a totalitarian political framing – rearticulate its material.
By and with: Chuck Morris
Technique: Katharina Runte
Dramaturgical consultant: Florian Ackermann
Performed at Institute of Applied Theatre Studies in Giessen, Kaleidoskop in Copenhagen, Junge Hunde Festival at Entréscenen in Århus, Perfect Performance Festival at Kulturhuset in Stockholm, Mousonturm in Frankfurt am Main and the symposium “Zum Beispiel Performance” in Leipzig. Supported by the Danish Arts Council.