7/5/2023 0 Comments Download aerials fit n fun![]() The video design (Josefin Arnell and Jessyca R Hauser) is striking, and even – in a show where everyone is naked most of the time – the costumes (advised by Mael Blau) are powerfully effective, with their fairytale wolves and witches, their nods to Swan Lake and La Sylphide. Stefan Schneider’s sound composition swirls and surges, lifts into ethereal harmonies and pitches into guttural screaming. Technically, what looks like theatrical carnage is often ingenious and supple. Some people on opening night walked out – a couple of men in the front few rows rather ostentatiously exited before things got remotely degrading – but those who remained may have felt as though they had passed through a ritual of some kind, eldritch and unholy. It takes a serious artist to navigate so many modes and keep the audience on side.Īdmittedly, not everyone is on side all of the time and even those most inclined to Holzinger’s perspective will find something confronting in it. It is also, in the most surprising way, thoughtful, hilarious and occasionally very beautiful. It’s not just provocative, it’s a deliberate affront. ![]() At one point, a woman in her 80s gives birth to a rat. Performers mount aerial motorbikes, lift themselves up by their hair, impale someone on a metal rod. Tanz includes scenes of mutilation, gynaecological examination, vomiting. To say Holzinger’s work isn’t for the fainthearted is to undersell it somewhat. Sign up for the fun stuff with our rundown of must-reads, pop culture and tips for the weekend, every Saturday morning What we’ve witnessed is the naturalistic first act what will follow is “the freaky shit”. Incredibly inappropriate sexualisation occurs, along with increasingly surreal divertissements, until Holzinger herself comes downstage and explains a few things. Everything is perfectly credible save the fact Cordua is stark naked and keen to get her students de-robed as soon as possible. ![]() The show opens with an ordinary ballet class, presided over by the real-life German ballet legend Beatrice “Trixie” Cordua. ‘To say Holzinger’s work isn’t for the fainthearted is to undersell it somewhat.’ Photograph: Eva Würdinger ![]()
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