{"id":5417,"date":"2023-10-09T19:46:29","date_gmt":"2023-10-09T17:46:29","guid":{"rendered":"https:\/\/www.forsoegsstationen.dk\/2023\/10\/5417\/"},"modified":"2024-04-04T22:45:42","modified_gmt":"2024-04-04T20:45:42","slug":"5417","status":"publish","type":"post","link":"https:\/\/www.forsoegsstationen.dk\/en\/2023\/10\/5417\/","title":{"rendered":"SLIM"},"content":{"rendered":"

[vc_row bg_type=”image” parallax_style=”vcpb-default” bg_image_new=”id^3326|url^https:\/\/www.forsoegsstationen.dk\/wp-content\/uploads\/2022\/02\/bg-p.jpg|caption^null|alt^null|title^bg-p|description^null”][vc_column width=”1\/2″ css=”.vc_custom_1708633272511{padding-right: 25px !important;padding-left: 25px !important;}”][vc_column_text]<\/p>\n

SLIM<\/span><\/span><\/span>
\n<\/span><\/span><\/span><\/h4>\n


\n
\n S<\/span>
\n <\/span>
\n<\/span>
\n
\n Question: Is it possible to write a script and perform a play in a gender-neutral way?<\/span>
\n <\/span>
\n<\/span>
\n
\n –<\/span>
\n <\/span>
\n<\/span>
\n
\n and ethnicity neutral?<\/span>
\n <\/span>
\n<\/span><\/p>\n

SLIM is a performative investigation <\/span>about <\/span>identity politics<\/span>.<\/span> <\/span>The experiment looks at h<\/span>how much can be liquefied <\/span>in one piece<\/span> without losing its shape? How to play <\/span>a snail <\/span>snail, and how to use it as a kinesthetic image and <\/span>viewpoint<\/span> in body, voice and script?<\/span><\/span><\/p>\n

SLIM is about fluid identity, gender and fluid spaces. SLIM is about the traces we leave behind and the traces that settle inside us, as spaces we carry around. SLIM is structured with the use of the Swedish gender-neutral third-person singular pronoun <\/span>
\n hen<\/i>
\n<\/span>. It’s a conscious choice not to give the characters names, but to call them names instead. Both performers are defined as HEN A and HEN B, and can therefore be played by all genders and ethnicities. <\/span><\/span><\/p>\n

[\/vc_column_text][vc_empty_space][vc_single_image image=”5414″ img_size=”full”][vc_empty_space]\n\t \t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\tREPORT<\/span>\n\t\t\t\t\t\t\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/span>\n\t\t\t<\/span>[\/vc_column][vc_column width=”1\/2″ css=”.vc_custom_1708633282371{padding-right: 25px !important;padding-left: 25px !important;}”][vc_column_text]<\/p>\n

THE TEAM BEHIND<\/b><\/p>\n

Maj Rafferty <\/strong>holds a degree in dramaturgy from Aarhus University and Goldsmiths University of London with an exchange at Freie Universit\u00e4t Berlin. Mai’s background is originally in film. Through many different artistic mediums, Hen has dealt with gender and the right to space. The last few years in the theater group Vesterbro K\u00e6lderteater, where she writes scripts and directs and is the daily leader of the group.<\/p>\n

 <\/p>\n

Vanessa Nerea Molin\u00e9 Petterson <\/strong>has a background in physical performing arts from the Academy of Performing Arts and an apprenticeship with Finn Hesselager. She is a character actor and loves creating roles based on her background in masks. She has acted in site-specific productions such as En til tak <\/em>and the quintessentially humorous success Kussesumpen,<\/em> which played at Teatret Ved Sorte Hest and Kussesumpen 2, <\/em>staged at Aveny-T. She loves creating and starring in absurd comedies like KATS – Borroughs has left the building<\/em>, which she co-created as co-founder of the theater company, Kompagniet Persona<\/em>.<\/p>\n

Since her first role back in 2015 in the graduation film Black Moon <\/em>, May Lifschitz<\/strong> has approached her work as an actor with great curiosity and empathy. After 8 years with various roles in front of the camera in e.g. The Netflix series Warrior Nun, <\/em>the DR series The Orchestra <\/em>, the children’s movie Wild Witch<\/em>, and most recently the AppleTv+ series Foundation, <\/em>this year she has made her first appearance on the big screen. First with a dedicated, interactive performance at Hamletscenen and now with this one. Throughout her career, she has worked to expand the boundaries of queer representation in the context of her own identity as a transgender woman.<\/p>\n

Katya Quel <\/strong>is a Berlin-based artist. Quel dedicates his artistic practice to triggering imaginary narratives juxtaposed with contemporary issues, all in a mix of multimedia materials. Katya blurs relationships between different areas of pop culture, including the boundaries between Eastern and Western artistic approaches<\/p>\n

such as the distinction between words and brushstrokes, reality and fantasy, design and art, and man-made culture and nature.<\/p>\n

Katrine Engell<\/strong> is trained as a textile mediator. She has studied at Kunsth\u00f8jskolen in Holb\u00e6k and worked with art communication in ULK and ST:ART Sydhavn. She works as a practicing artist herself, using different media to create spaces and parallel universes.<\/p>\n


\nCoco Kocyigit <\/strong>has a bachelor’s degree in communication and has spent the last few years working with social media, communication and event planning in various organizations, most recently in the development platform ST:ART. She has recently been production manager on the show Har du tjekket din navle<\/em>, which played at Ub\u00e5den in August. Coco has also previously worked as an actress.<\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

\n
<\/div>\n<\/div>\n

[\/vc_column_text][vc_empty_space][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

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