Magic opening week last week!
Fantastic respons of our new performance Min totala Njutning by the artist duo Lilith and the poet Daniel Mårs.
Over 1100 tickets already sold! The critics love it.
6 more times to go. We are on again Thursday – Saturday this week and next!
” The audience moves along the walls, and in the neon blue gloom emotions, voices and bodies surge in a powerful mix of song, caresses, beauty and sadness. Both bakery and nightclub, opera scene and disaster site, darkly and lavishly twisted beyond all rhyme and reason.”
” The experience is completely bizarre, like an apocalyptic dream scene. The survivors gather among the ruins, in frustration and longing. Nevertheless, the life-giving dough must continue to be kneaded, connections built, bodies embraced and meaning created. Without falling for banal messages, the work says something essential about the beauty and difficulty of being human. It is doom-laden and strangely comforting.
Carolina Söderholm →. https://konsten.net
”Lilith Performance Studio is one of the important small idiosyncratic groups that make Malmö by far the country’s most vibrant stage city right now. Long before the stagnant capital, the one that used to be ”Europe’s densest theater city”.(Redigerad)Återställ”
” When I wander out into the industrial area again, I don’t know what I saw, other than that I witnessed something special; also the experience that the wordless can be so …. political, philosophical, existential.”
”My brain flutters during the performance through the span of man’s time on earth.”
Henric Tiselius →https://www.kristianstadsbladet.se/Recension_svenska
” Lilith Performance Studio has once again succeeded in creating a world that was not known to be possible. Or rather several parallel worlds. The Dough Cave can be a post-apocalyptic condition where you have to help each other to survive. Or a mythological penal colony, where the sinners are condemned to eternal Sisyphus labor. Or a bubble of pleasure where like-minded people have gathered to devote themselves to something they love, without having to worry about the questioning looks of the outside world.”
Tor Billgren → https://www.sydsvenskan.se/review
Kristianstadsbladet – Henrik Tiselius Review in English
“My total enjoyment”
By: Lilith and Daniel Mårs
Composer: Philip Gleisner
Participating actors: Daniel Mårs, Elin Lundgren, Erik Wall, Susanne Larsdotter, Lo Pettersson-Lundgren, Inna Pettersson-Lundgren and more
Vocals: Choir and with Kristine Nowlain as soloist
Pole dance: Selma Kjesen
A production by Lilith Performance Studio, premiering on November 3 in their premises in Malmö. Played until November 19.
When we walked down the stairs in the old industrial premises on Bragegatan in Malmö, we ended up on March. Possibly it’s another celestial body, or maybe we’re in a Mad Max movie?
In the faint purple light, stalagmites rise like rakes. When the eyes have had time to get used to it, we start to be able to discern bodies. In the lunar landscape, they move silently around on piles of earth and mud, or maybe they are the bready lumps of dough that they are in reality? Kilo after kilo of dough. Person after person, children, young, elderly, someone with walkers carry in different directions – to gather after a while, collaborate, work, maybe build something… and well, maybe also enjoy the sticky material like a child in a mud puddle.
“Lilith Performance Studio is one of the important small idiosyncratic groups that make Malmö by far the most vibrant stage city in the country right now. Long before the stagnant capital, the one that used to be “Europe’s most theater-dense city”.
Lilith Performance Studio is one of the important small idiosyncratic groups that make Malmö the country’s by far the most vibrant stage city right now. Long before the stagnant capital, the one that used to be “Europe’s most theater-dense city”.
The Malmö-based group is still a senior in the context of their 15 years and many of their performances have been successful international collaborations. Most recently with the Norwegian Tori Wrånes, where the audience got to see her performance in a giant “stomach bag”. In this way, Lilith’s own “My total pleasure” – their “biggest venture to date” – with their dough is a kind of continuation.
“My total enjoyment” is an art performance as far from fourth wall theater as you can get. And even if the performance form can still feel odd in 2022, there is of course a line from the 60s explorations in the hippie and pop art era, to today’s still active legends Marina Abramovic. The form thus carries both history and wealth. Like here this evening, rather sharp than doughy.
The poet Daniel Börs is once again collaborating with Lilith’s lead duo Elin Lundgren and Petter Pettersson, but this time his stanzas, like detached murmurs, only accompany the sound room from time to time. The words are more clearly in a newly published book … but are also there their own central lyrical entity, and do not give obvious answers as far as we can see. It does not matter.
And I still imagine that I’m seeing something completely different from what the stage artists have created in view of the show’s title. But “so what”? The openness of performance art makes it – when it’s this good – even more interesting. My brain flutters during the performance through the time span of man here on earth. Are we seeing Stone Age people, or is it our future after climate collapse? Do the people thrive or do they behave in their herd as if they were in Dante’s purgatory?
“It gives a timeless picture of human needs, desires, collegiality, but also a hint of how close we actually are to animals. A bit like the monkeys in Stanley Kubrick’s 2001.”
Regardless, it gives a timeless picture of human needs, desires, collegiality, but also a hint of how close we actually are to animals. A bit like the monkeys in Stanley Kubrick’s “2001”… But suddenly an opera singer comes in and interrupts the monotonous buzzing from the speakers, a circus performer excels with a swinging pole dance…. we are therefore at the same time in a show or fairy tale world. Humans can do this too!
At the entrance, we have been told that we as an audience do not actively participate in the performance, and I think “thank God for that”. But that doesn’t mean we aren’t involved. Some walk around the environment, others stay away from the “stage room” and push themselves against the wall. Our walking tour is absolutely co-creative, and the fact that the twenty participating “dough bearers” in the room are wearing ordinary everyday clothes connects them and us. So: stone age, future? Why not the present.
The audience gradually gets braver, steps around the performers watching. It is almost impossible not to come out a little floury or doughy. It is also unusual to see the audience drop in one after the other during an evening on stage. The evening itself lasts for three hours. If you are, like me, there from the start, the surprisingly heterogeneous audience grows from the maybe ten we were at seven o’clock to probably five times that after an hour and when you want to, you go out again. It doesn’t feel uncomfortable at all, but gives the evening its own pulse.
When I wander out into the industrial area again, I don’t know what I saw, other than that I witnessed something special; also the experience that the wordless can be so …. political, philosophical, existential.
It’s really not just the dough under the shoes that makes me walk away enriched.
“My brain flutters during the performance through the human span of time here on earth.”