”This book conveys more bullshit about women than I can swallow,” writes Gunilla Thorgren in the preface to her feminist and literalists, the bible study ”God’s disobedient ribs”. At the royal Dramatic theatre’s main stage, they run lovingly with her way of approaching the Bible as a kind of psychological realism. This, then, is the rather thin background story when Tilde Björfors put up ”God’s disobedient ribs” that cirkusteater – Gunilla Thorgren reads the book and becomes cursed. But Cecilia Lindqvist makes the unexpected much of the right hopeless the role of Thorgrens pact alter ego, and guides the audience from the rib taken from Adam’s body to the meeting with the female kyrkpionjärer as Hildegard of Bingen and saint Birgitta.
Thorgren has called his reading of the Bible, a journey into a dark idéarv, and the brutality is also the here the play angry keynote – from Domarbokens gang rape to häxprocessernas torture and burning flesh. Against the violence then as the comedy comes, that moves from the elegant to pure slapstick. For example, it is quite wonderful when a spiritual Horace Engdahl shows up on the first council of Nicaea, and wonder if the ”men are better suited to sit in this type of assemblies”.
Cirkusartisternas replicas falls flat against the stage floor.
where the actors and circus artists changing art forms with each other, and, for example, Hamadi Khemiri’s breathtakingly across the entire field. But there is an injustice in that the theatre is inevitably the actors home, which means that they can convince even in far from perfect cirkuskonster – while the reverse is not actually the case. Cirkusartisternas replicas falls flat against the stage floor, which needs to be placed on the director and a misjudgment of what the theatre languages require their interpreter.
But ”God “disobedient” ribs” live and pulsating in a different dimension, where the body, movement and sensuality tells the story that otherwise would have been lost. This is a wonderfully furious goddess who rocks straight out over the audience, heavenly the wire trick around the death of Jesus on the cross, and a nun who makes the hysterical antics of a ping-pong ball. The effect is downright dazzling, even if the characters sometimes go over in the clean display. And I wish to Björfors had dared to rely more on the unspoken and physical. For it is not possible to get away from ”God “disobedient” ribs” to the end of the landing, in two completely separate notions, one of which, unfortunately, becomes an unbearably officious lecture with few scenic qualities. The other is a deadly beautiful and breathtaking song, which cries out through time.
Read more of DN’s scenrecensioner here.
