”I am a woman. But I am a writer; am I not also something of a man?” These are the words of Victoria Benedictssons. On the scene pronounced the of Mattias Nordkvist, clothed with a garment down to the foot black maxi dress with a reinforced rear, spetskrage and a mind of its own waistband which refuses to stay in place over the abdomen.
A physical revelation that serves as a distanseringseffekt to person Victoria Benedictsson. For despite the fact that it is her diary entries (in the selection and processing of Nordkvist itself) that meets us, is this, in the first instance, a notion of structural förtyck. A kvinnokamp that never seems to pass any best before dates.
in the previous sets monomant has devoted itself to reinterpret the male playwright and rescue the female characters from death. True to habit, she moves the focus from the Benedictssons suicide for the benefit for a brighter output, without compromising on any complexity. She puts the finger on the basis of the big dilemma: how to be free when structures keeps us hooked?
the Symbols for a woman's limitations, her hails: Benedictsson working frantically in a small circle on the floor – a stunted private sphere. She reads the text in a strong headwind, and are drowned. Times and continents visible flicker past when the skirt turns than a burqa, than to a straitjacket, in a nervig dance. The result is a dense hour of life, mediated by Nordkvists honest and distinctive design, which captures the stock of experience, enhanced by sound and filmprojektioner. A allkonstpärla capable of nailing the most restless nutidsmänniska in the chair.
meet elegant in both the game and the congenial stage room. We study semi-circle of bright panel curtains with spetsbård reminiscent of both a contemporary meeting room that the 1800-century sheets on a tvättstreck. Benedictsson throwing them away and ask: ”Is there not a single man who lives what she preaches!” Her criticism of the frasradikaler and moves social and literary coteries are constantly current and get samtidskollegan Strindberg's ”Inferno” to fade.
To Benedictssons work was published under the pseudonym Ernst Ahlgren in order to be accepted in the 1800-century public sphere is a clear example of her livsbegränsningar. To a man now depict her sense of ow full position in the scene, by someone less benevolent be interpreted as a reclamation of the female room. I choose to see it as a victory that the roles are now reversed. This is Mattias Nordkvists strong tribute to Victoria Benedictsson, I also think that Ernst Ahlgren would appreciate hot. See the.
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