Last year, Miryam Mariblanca (as she was called then) was the standout performer in Andreas Constantinou’s bruising The WOMANhouse. The same pairing returns in the equally hard-hitting solo WOMAN, Mariblanca now called Daniel, using the male pronoun, and recognisably the same person. The solo turns on that nexus of corporeality, performance and presence, Mariblanca hurling his naked body to the floor, costuming his bare-breasted figure with scraps of feminised clothing and enacting a range of gendered walking styles: sashays, strides, stomps. He stages a shocking “rape” of a stiletto shoe by a microphone; emits chokes and retches that suggest struggles from within the very organs of his body. The extraordinary, extended last scene sees him twisting violently and unremittingly from side to side, until we sense not just the lateral binaries of eyes, arms, nipples, legs, but the axial singularities of nose, mouth, spine, crotch, and a whole vortex of indeterminacies and dissonances that together constitute this (and the) human being.
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