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Both of the plays show two correlating aspects of desire.
In the duet, desire is given a counterpart and, thus, an ear.
In the solo, desire has been left alone
and has to find its own language,
the language of the subconscious.
Thus one of them becomes a pleasurable competition, and the other becomes a dreamy journey of pictures.
When wishing still would have been a help.
The subject is oscillating between the hope of complete fulfillment and the experience of lacking something.
Because the subject is not entirely satisfied by the object, an unfulfilled spot remains, a sign of indestructible desire. In terms of satisfaction, this means there is an irreconcilable difference between the subject and the object—the basis of every untamed passion, which surpasses anything that is possible between animals.
Instead of taking action, the subjects articulate their desire. The symbolical order thus achieves an instance, which makes human life possible.
|Performers||Gerda Schorsch, Ingeborg Schwab;|
|Directed by||Miki Malör; Carlos Trafic|
|Stage||Judith Leikauf, Karl Fehringer|
|Lighting Design||Edgar Aichinger|
|Public Relations||Patricia Thill|
|Network Management, Editing||Helmut Schütz|
|Subsidized by||Kulturabteilung der Stadt Wien MA 7|
|Time, Place||January 2003|
dietheater Konzerthaus, Vienna
Two women in a competition of wishes.
New each evening. Pure improvisation.
Two actresses come together and alternately voice their wishes.
Each of them has to satisfy the other’s desires, which have been voiced spontaneously.
This has to do with tenderness and beauty, as well as power and greed.
Fair, because it’s always mutual.
Wishing as the struggle for survival.
An intellectual exercise.
A physical exercise.
|With||Gerda Schorsch and Ingeborg Schwab|
|Directed by||Miki Malör|
A woman and a secret in the surreal rooms of desire.
The woman is doing intimate and secretive things.
She is using butter, pubic hair, money and scents.
Rituals. Absurd pictures. Daily routine.
Her actions are completely natural.
Her actions do not make any sense at all.
The narrative remains a subtext.
Surrealism creates rooms for individual moments of suspicion.
|Directed by||Carlos Trafic|
A Chronology of Wishes
Gerda Schorsch and Ingeborg Schwab are the authors of this documentation.
Over a six-week rehearsal period, they have improvised far over 6000 wishes, and have fulfilled the majority of these wishes for themselves and each other.
This book comprises a record of all the wishes voiced during the rehearsal process. It has been left in chronological order.
Wishing is subversive.
Wishing is radical.
Wishing makes you autonomous.
Flip the pages and let our wishes inspire you, so that you can discover your own wishes hidden behind them.
|By||Gerda Schorsch and Ingeborg Schwab|