Totally naked humour.

Funny, loving and teasing about the ingredients in a typically
intellectual dance-performance.

The Dutch Frans Poelstra had a dream. He wanted to liberate himself from the stigmatizing influence of art-history. Set free from schoolsand methods, he wanted to jump around gracefully. Twist his back in awrinckled way, making clumsy stops on the floor, and balance between the chairs in the audience. Naked.Self-realization.

Like it was dreamed, it was done. The absolute urge of Poelstra to realize himself, brought him to the CODA festival two years ago.Friday he was back. Together with his dramaturg, who is thinking outloud, he greeted a full Black Box.

Poelstra, his dramaturg and Bach is a cunning parody that in a self-ironic way hits the ego of the artist just as hard as the machinery around. Agents, festivals and critics take hard blows, afterall, being in this business for many years turn several into slightlycynical and craving art-consumers. The artist, on the contrary,dislike everything that has the taste of bussiness. For sure, Poelstra is not going to the USA. That ís the limit.

Bach.

Poelstra compares himself with Johann Sebastian Bach. And God. God needed 6 days to create the world, Bach eleven for his Goldberg Variationsî, says the dramaturg dryly. Poelstra didnít need a lot of time to choose Bach as his dance-music. One day, passing a window, he heard the variations in the street. Poelstra can not resist the influence of the minimalists, and lets the coincidence rule: It had to be Bach.

Audiences rarely laugh out loud to the Goldberg Variations, but this is exactly what the 51 year old and experienced Poelstra makes us do. His vocal interpretation of Bach is equally full of dissonance and enthusiasm. But even an artist like Poelstra run out of ideas. Luckily
he recalls that even the dramaturg has a body, even if it is loose. Together the dancer and the dramaturg executes awkwardly but eagerly acrobatics, and also neat interpretations of all kinds of meaningful stage-props.

Words.

The duo Poelstra/Steijn talks back and forth about the the use of words on stage. In a pedagogical and demystifying way, the letters are tore down from their high-cultural pedestal. The trendy filosofers that all intellectual artists quote to fill their catalogues, get a very funny funeral feast, accompanied by primal screams and guitar.The performance is a mild and hospitable relative of the theatre-piece Publikumsbeschimpfung by Peter Handke from 1966. The Contemporary Festival of the National Theatre (Nationalteaterets Samtidsfestival) just gave us a well played new interpretation of this classic. This is really something in a country where the Theater and Knowledge Lexiconfrom Kunnskapsforlaget, doesnít mention the famous austrian dramatist with one word. On the other hand the lexicon treats Tom Hanks thoroughly.