Immoral Tales is a modern treaty consisting of three autonomous parts, that puts forward a question if nowadays sexuality is a space of freedom or enslavement. The variety of visual forms used in the performance tries to show this unusual heteronomy of the sphere of sexuality.
Act 1: Designed house reflects on its wall everything that is pushed down and carefully hidden. The more sexuality and desire of its inhabitants are restrained to attempts of rigorous control, the more nakedness emanates on the walls of our house. The house is designed to be too small to contain the intimacy of its inhabitants: every sigh or moan is perfectly heard. This treatment is meant to illustrate the reality of the early twentieth century, when the poor housing conditions and lack of sexual education significantly contributed to the tragic situation of young women, who were often forced to have abortions without medical supervision, and in extreme cases, thrown out of their homes by their families for offending morality, in order to survive they took up prostitution.
Act 2: This is a precise theatrical reconstruction of the famous case of Roman Polanski’s rape of a 13 year old girl at Jack Nicholson’s villa in 1977. The reconstruction is based on transcript from the court case of California vs. Roman Polanski. My goal was to present a purely contractual space for the reconstruction, in which the house from the act 1 has a completely new function. I was interested in the tension between the reality of the object and its conventional symbolism.
Act3: The set design consists of a surrealistic garden, where the branches in a strange way bring to mind the folds of human skin. Through this gesture I wanted to emphasize the disappearance of the distinction between what is human and what is the beyond human world. The idea of a landscape in which people function symbiotically with their non-human environment, drawing energy from it and becoming a part of it was very close to me. I used a very formal or even surreal language. The bodily forms made of textile and foam are not meant to mirror reality, but rather to imitate it, creating a more fanciful and grotesque equivalent. I wanted to create a universe of signs of sexuality both in the area of reality, its imagination, and a very creative version of reality, i.e. its fetish.