Photos: Julia Jaksch & Nils Limberg
"Nobody is quite sure how Crow was born. Different stories were told. . . " –Ted Hughes
This past November I premiered my first solo, a devised physical theatre piece inspired by Max Porter, Ted Hughes, the Dadaists, and the centennial anniversary of a period of insane political turbulence.
100 years ago explosions on all fronts: literal ones on the battlefields of Europe and figurative ones in the field of art. It's been 100 years since von Freytag-Loringhoven's and Duchamp's God and Fountain, respectively...well, depending on whom you ask.
100 years since the United States of America declared war on Germany.
100 years since the Boshevik Revolution.
100 years since Tzara wrote his second Dada manifesto.
And here we are again. 100 years ago might just have been yesterday.
Crow swoops in in a final attempt to charm/seduce/persuade/threaten humanity to come to its senses – the natural, physical kind, not the detached, rational kind. But as powerful and clever as she is, nothing Crow has up her sleeves can stop the neverending "insance spectacle of collective homicide" to which she has played witness for hundreds of years. A failed messenger, a condemned Cassandra, she must carry the weight of her vision alone in grief. A solitary black feather remains as a symbol of her dashed hopes for revolution.
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Header photo: Carsten Dapper