The children have left, game is over. The space is scattered with residues of play and confused entertainment. Six adults replace the kid’s presence. They wear police uniform but are not sure of the use they can still make of it.
Irreverent toward the function that the uniform symbolizes, their actions and interactions render a paradox between the familiarity of immediate recognition and the alienation of self-identification. Surrounded and scrutinized by the audience, the uniformed performers are trying to do their «police work». They try, they fail, they try again and find that failure is their style. In unsettling and unsettled instances of embodiment the vulnerability of all bodies emerges and becomes tangible. Power is a force but they have forgotten how to activate it.
The inefficiency of their ‘police work’ takes time and the incorporated gendering of bodies adds to the ambiguity of the appearing and dissolving images. Authority lies in the audience’s gaze but where should they place their sympathy, their antipathy? Abuse is never far away. Sexuality can be empowering but tends to hover in threatening clouds. If we release the police of its own authority what kind of theatre game is at stake: can we open up a mutable landscape in which domination and submission are interrelated forces that resist conforming to a simple binary and like power are practiced rather than possessed?
KOPRODUKTION Spielart München, Kaserne Basel, Hau Hebbel am Ufer, Charleroi Danses, Théâtre de Liège, Gessnerallee Zürich, de facto Zagreb, BIT Theatergarasjen Bergen, Théâtre Garonne, Scène européenne / Toulouse, House on Fire (mit Unterstützung des Kulturprogramms der EU) und Zürcher Theater Spektakel
UNTERSTÜTZUNG Gefördert durch das NATIONALE PERFORMANCE NETZ (NPN) Koproduktionsförderung Tanz aus Mitteln der Beauftragten der Bundesregierung für Kultur und Medien aufgrund eines Beschlusses des Deutschen Bundestags, Fachausschuss Tanz & Theater BS/BL, Stanley Thomas Johnson Stiftung, Stadt Zürich Kultur, Fachstelle Kultur Kanton Zürich und Schweizer Kulturstiftung Pro Helvetia | FOTO Jorge León
Dank an: UferStudios Berlin und Myriam Van Imschoot