\u00cenchise \u00eentr-un ad\u0103post pentru refugia\u021bi, femei sosite din toate col\u021burile lumii pun \u00een scen\u0103 jocuri nesf\u00e2r\u0219ite \u0219i micro-performan\u021be intime pentru a-\u0219i dezv\u0103lui identit\u0103\u021bile ascunse. Ele se exprim\u0103 \u00eentr-o limb\u0103 care prinde contur chiar sub ochii celor prezen\u021bi, o limb\u0103 pe care nu o vor st\u0103p\u00e2ni niciodat\u0103 pe deplin. Aflat\u0103 undeva \u00eentre o audi\u021bie \u0219i un interviu de angajare, \u00eent\u00e2lnirea \u00ee\u0219i schimb\u0103 treptat tonul. \u00centrebarea identit\u0103\u021bii trece \u00een plan secund, \u00eens\u0103 demnitatea rezist\u0103, o demnitate pe care ele o pot avea ACUM, nu postum.<\/p>\n
Inspirat\u0103 par\u021bial de piesa Cameristele<\/em> de Jean Genet, aceast\u0103 produc\u021bie incorporeaz\u0103 fragmente din Stabat Mater Furiosa de Jean-Pierre Sim\u00e9on, I\u2019m Dying as a Country<\/em> (Mor ca o \u021bar\u0103<\/em>) de Dimitris Dimitriadis \u0219i din Constitu\u021bia Republicii Franceze.<\/p>\n","protected":false},"excerpt":{"rendered":" Studioul Wachowicz\/Fret \u2013 Institutul Grotowski, Wroc\u0142aw, 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