We are in a claustrophobic environment. Wearing tight suits and high riding boots smeared in animal fat, the Nartman Foundation wades through a barren landscape covered in mud and dirt, between large barrels of dissing aspic. They desperately try to stay clean – if they lose something in the mud, everything is destroyed. Out of this hell of mud, the desire arises: the desire to give in and give up!
We will call the Poison Information Center’s telephone 22 59 13 00 and hear what we should do after swallowing a handful of arsenic – could we have saved Emma?
Henriette Pedersen and the Nartman Foundation are no strangers to working with texts in a choreographic setting. This time they have set out to investigate the world’s first realistic novel, “Madame Bovary” (1857). The boredom of the doctor’s wife Emma Bovary’s bourgeoisie marriage leads her into an unspeakable mixture of sex and infidelity, profligacy, longing for death, and self-loathing. Where Flaubert uncovers the hypocrisy of the 19th century bourgeoisie, Pedersen presents circumstances and interpretations that are far from realistic – rather hysterical, hypersexual and boundless.
Choreographer Henriette Pedersen has worked in the intersection between theater, dance and visual arts since 2000. As a feminist, questions regarding gender, sexuality and power structures consistently run through her work, and also in MADAM (2021). At Black Box teater she has previously shown PEER / BITCH (2019/2020), Almost Nothing (2018) and the trilogies Riding Romance (2012–2016) and Animal Magnetism (2010–2011).