The movement style of this piece does not activate any one particular technique, but instead blends social dance citation, quotidian gesture, and rhythmic movement through space.
A central device in the piece, performers manipulate white fabric sheets that are continually re-arranged on lines diagonally strung across the stage, functioning as transformative objects as well as projection surfaces for the archival images featured throughout the work.y (1977) in which Sofia Loren removes white sheets from a laundry line (Luz 2010).
Set on , the day Hitler visited Mussolini in Rome, the film explores Loren’s character’s ill-fated attempt to seduce her queer male neighbor who is on the brink of deportation.
This film’s role in the artistic conception of the work provides a notable counterpoint to its otherwise transcendentalized heterosexual narrative.
He disappears behind the sheets as images of post-war Europe flash across the curtains, displaying cities reduced to rubble.
She slowly begins to remove the sheets from the lines.
The piece negotiates such repeated scenarios of political violence by juxtaposing corporeal behaviors with archival documents, in particular video documentation of war and mass public gatherings and text of political speeches.
Literalizing the notion of the personal as political, private experience in this piece is transmittable only through collective memory.
For a brief moment, the images of rubble are projected only onto her body and she walks upstage.
The performers re-emerge to the sounds of the Argentine rock song “Hoy todo anda bien”by the group Manal.