Disgust doesn’t only relate to biological decomposition processes but also to social groups and behavior. In Pasolini’s work disgust manifests itself as moral and sexual squalidness, which he associate with fascism. Sartre conceives disgust rather as senselessness and randomness of existence. After all disgust is an important topic of groundbreaking philosophical reflections and concepts of the 20 th century.
The connection between the human-existential and social disgust can be seen, for example, in the viewing figures of TV-Shows like Das Dschungelcamp on RTL – the market share was at 40 percent, meaning 7.28 million viewers – in which celebrities of Germany eat maggots and get showered in cockroaches. Mass-media shows such as Gnadenlos (Sat.1) and Das Messie-Team (RTL2), feign to be debates on a socially-specified dimension. Yet hey point their finger at distorted social images without, however, identifying and analyzing the underlying social pathologies.
The insights of science are always lesser than the pool of man’s experience. Every scientific interest in insight is always confronted with certain leftovers, realities that are methodically elusive. In so far as disgust is the eruption of the negative and the carnally-unknown, science is constantly faced with its limitations. The present with its complexity of diverse indexes can only be captured, simulated and experienced by and through art.
With die made im speck we attempt to collectively approach the dimensions of social disgust from different angles and to further deconstruct it. This deconstruction will touch on and confront us with our own boundaries in relation to our moral, our mentality and our patience. In this respect, the different artistic fields shall converge to a total work of art. The installation, which encompasses the stage, creates a space of perception that touches on the viewers senses. Images – projected and on screens – examine symbols of social classification and rejection along with the fetish. The sound installation amends the installation and sets a dramaturgical composition for the performance. In the performance the dancers’ range of movement is constrained. Via dance boundaries of tolerance shall be experienced and overcome. The constriction of movement is attributed to the maggot-costume. Further, the dance is accompanied by three monologues of the dancers in which they express their thoughts on their existence as a maggot, bewildered and sometimes shocked about themselves and their surroundings. Finally, in a lecture and succeeding debates thesis which have been developed in the work process shall be presented and discussed.
Production time: Beginning of March until end of April 2012
Presentation: 14 – 18 Mai 2012, PANKE Berlin-Wedding
Installation: Shuah Brotherton www.shuah-brotherton.de, Jose ne Lindner
Choreography: Miriam Welk www.miriamwelk.de
Performance: Barabara Toraldo www.vimeo.com/barbaratoraldo ,
Jara Serrano www.jaraserrano.com, Vasso Polymeni
Music: Bia Paiva
Costumes: Bergit Faßl
Lectures: Harald Pittel, Feray Halil
May 15, 2012 > 18.30 hrs LECTURE | 20 hrs PERFORMACE afterwards DISCUSSION
May 16 > 20 hrs PERFORMACE afterwards DISCUSSION
May 17 & 18 > 20 hrs PERFORMACE | 21.30 SCREENING afterwards DISCUSSION
May 16 till 18 > 11 am till 7 pm