- 13.11 > 25.11.2023
Textural Tragedy ties together the Gothic novel, heavy metal/scream singing, ‘charge’ and lace, creating a stylistic knot. My interest is the construction of style/aesthetics as a social motor. This work is a collision of influences which, at once, critique, inspire, and unsettle.
This is why I describe Textural Tragedy as a ‘knot’ where various things are worked together to form a greater Gestalt.
My interest in the Gothic novel derives from its potency to horrify, whilst triggering new senses of reality through the fantastic/supernatural. Mehtonen and Sjöberg posit that the 18th/19th century Gothic novels directly reacted against the movements of realism, naturalism and impressionism. Opposed to those latter movements the Gothic novel took an anti-mechanistic/anti-rational perception of reality. The dramaturgy of this work is inspired by these characteristics. Through the figurative/scenic we disturb and pervert standard figures integral to Western culture (Mother, Daughter, Dog, Freedom, Nature), and through the abstract/experiential we incite experiences of wonder/vivacity.
Heavy Metal centralizes qualities such as metal, heaviness, and force, creating an adverse sound. Its aesthetic values were distinctly opposed to the optimistic hippies movement, countering ideals of nature, peacefulness, and purity. We use composed sound interventions and live scream singing-inspired choral compositions to construct wonderous/alienating sonic experiences.
Large-scale abstract lace works hang in the space as scenography. These Gothic chandeliers at times produce a poetics of place and at other times cast shadows transforming the stage into a moving texture. Flemish bobbin lace was an opulent textile only afforded by the wealthy. Contrastingly, it was often made under forced labor conditions in nunneries and orphanages for girls. Its pattern is defined by the spaces between threads. Our work on lace will be made in collaboration with the textile museum TEXTURE in Kortrijk.
We work with the idea of ‘charge’, where movement and expressivity are choreographed as one. Charge creates overexpressed, extravagant and obscene bodies, in opposition to the so-called ‘neutral body/performativity’ enforced during the postmodern period. Expressivity is choreographed as material that circulates between audiences and performers.
Artistic direction Lydia McGlinchey I Performers Mate Jonjic, Lydia McGlinchey, Estefenia Alvarez Ramirez I Textile Elena Vloeberghen & Lydia McGlinchey I Costume Lynn Vanhoydonck I Sound Iris o0ryxss (Iris Joana Therasse Nicaisse) I Light design Caroline Mathieu I Artistic advisor Bojana Cvejic I Text & co-research Stefa Govaert I Vocal coach Fabienne Seveillac I Production Kunstenwerkplaats I Co-production Kaaitheater, STUK, KAAP & VIERNULVIER I Supported by BUDA, TEXTURE Museum (Kortrijk) I With the financial support of de Vlaamse Gemeenschap & de Vlaamse Gemeenschapscommissie.