The Land of Wanting More
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Participant of Ukraine Fringe 2024 Festival
Expression of sexuality is one of the basic dimensions of human personality. The image one acquires of one’s body has a direct connection with one’s sexual identity and therefore with one’s self-esteem. Does this simple principle apply equally to all genders?
The Council of Europe since 2019 has described the current situation in relation to the female gender as a violation of human rights. It described an environment hostile and at the same time offensive to women’s physical, sexual, psychological, socio-economic expression, which mainly hinders autonomy and the implementation of human rights and still maintains gender stereotypes in both public and private life. This is the first definition of sexism in an international text. Gender stereotypes perpetuate the unequal treatment of men and women. Women who question their supposed place in society may be treated with sexist and misogynistic behavior.
The conflict over the issue of the equality of the genders, from where the unhindered expression of sexuality arises, has been in a substantial process of conflict since the beginning of the 20th century with the creation of the feminist movement in its first phase. A century later the feminist movement in its third phase negotiates with the same intensity against attitudes, practices and behaviors based on the idea that a person is superior or not because of their gender.
Through systematic research, practical representation and in-depth discussions, an attempt is made to seriously reflect on the public and a deeper introspection is sought on the issue of the timeless oppression of eroticism and the free experience of women’s self.
The Land of Wanting More is a 20-minutes videoart performance, which combines practices of the Theater of Invention and Filming. With the use of dramatic and narrative language (alternating appearance of role and actor) stories of women, who come in contact with their unconscious, stand face to face with their desires and identify with them, come to life, while the same stage objects determine the dramatic action every time, with their appropriate use and conversion. The final text of the performance emerged during the rehearsals both through research and with improvisations and is inspired by texts by George Sand, Sam Shepard, Camille Paglia, Colette, the poetry of Greek poets Matsi Hatzilazarou and Miltos Sachtouris and true testimonies. These testimonies concern personal stories of sexual liberation and loss and sexual, physical and emotional abuse of contemporary women.
In the interwar era the liberation of female sexuality becomes, for society, the embodiment of lust. A dragon that poisons whatever it touches and turns women into indifferent, irresponsible, insensitive, toxic creatures. In the modern 20th century (70s, 80s, 90s) women are empowered, emancipated and defying stereotypes en masse. In the new era of sexual liberation, the woman can expose her body even more, as a symbol against the sexism that survives in society. She stands naked without apologizing for her body, instead showing her love to it. Nevertheless, the criticism, isolation, scorn, guilt, violation, abuse and constant fear she experiences for her choices are timelessly evident as an integral part of society then and now.
The performance tries to strengthen Woman’s freedom to be exactly who she wants so that she can make a complete break with the social principles and stereotypes that bind her.
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