Pressespiegel 2017

DOCK 11 PRESSESPIEGEL 2017
Signoriello confesses to Alejandro Notas that she has kissed others. “Forgive me.” she demands of
him. She drags him along in her game of love and lust. All along Notas retains a strong and steady
energy, both unwilling to show his wounds or any other emotion. Signoriello slaps him, Still no response.
He stands for a sort of man fighting to remain in control and to not be overcome by his emotions.
This is until he is brought to a heart-wrenching solo towards the end of the work where he is
toss to the ground until a response is practically beaten out of him.
Ronja Häring also takes a comedic stance as she recites her abridged version of Erich Kästner’s poem
Sachliche Romanze. She speaks matter-of-factly about the irony of love and the couple’s unwillingness
to accept that they had fallen out of love. She compares their loss of love to that of a sock, as if
human emotions can be lost like an article of laundry.
As Austin Fagan takes center stage, he reintroduces the game, this time requesting opinions from the
others. “What do you think about me?” He asks over and over until the others reply “Why do you
care?” Fagan continues into a moving monologue about purpose and identity. He compares himself
to the clothes that he wears every day. They become old and tear, and when he patches them, all
anyone sees are the patches. It’s like spending all his money and energy chasing his dreams only to
run out of money and not be any closer. “It’s like hitting yourself in the face with a frying pan… like
working on personal development to strengthen your relationships, but no one cares…” or “choosing
to believe you’re happy when you know you’re not.”
All the performers retreat to a moment of isolation where they all begin speaking in their own language.
Yuri Shimaoka’s individual monologue develops into a gesturing phrase which moves her to her
knees. It is a phrase of suppression and guilt. Her movements are simple but executed from a deep
spirituality with strength and honesty.
The piece slowly seems to spiral into a place of hopelessness until they break into singing “L-O-V-E.”
I almost believe the words they are singing “love was made for me and you.” However, there is a residue
of irony and irresolution. As the work come to a closure, the weight and meaning of love takes
hold. “I felt love come out of my belly… I will never leave you… I love you.” Words of desperation.
Michal Hirsch surprises the audience. The mature performer who had remained steady and calm
through the performance announces “Now it’s my turn!” She steals our attention with her wisdom
and spirituality and speaks with an urgency. She urges the performers much younger than she to not
lose hope. Her movement is reckless and childlike. She has remained free regardless of the burdens of
love. The other six try to exit the stage but she runs before them insisting they stay.
Though they remain they have lost the playfulness they began with. They have grown tired of playing
the game of love because they have too often been on the receiving end, used and empty. Love, lost,
isolation, community, purpose, identity, fear, anger, and healing. However, it is the laughs along the
way that enriches the experience.