for my english speaking readers, hookers & friendsVeröffentlicht: 28. Dezember 2010
First of all I hope you had a wonderful christmas and enjoy your holidays. With some delay I just keep you informed why I couldnt travel to the UK recently. Its because of a theatre play in Berlin „Lulu – die Nuttenrepublik“ (i.e. Hookers republic) after Frank Wedekind with original texts spoken and performed by sexworkers. Many of you know me from the in- and the outside and appreciate for what I stand for and you know I was totally desperate that the play couldnt go on stage in London. But I found a soulmate, the notably german theatre director Volker Lösch and he realised this idea with his fantastic team in a very special manner. Not forgetting the willingness and courage of a dozen independent women we could find formerly or still working in the scene enthralled by this idea. Volker Lösch and his dramaturges cut Wedekind’s play while expanding Lulu’s character with female sexworker voices and personal documents of intimacy. LULU presents the prototype of lolita and femme fatale, subjected to overwhelming projections of changing partners, husbands, so called friends who cross her life’s journey and eliminate her subjectivity initially til her violent death physically by clashing with Jack the Ripper in the streets of London. Volker Lösch had this idea to add „hookers republic“ (Nuttenrepublik) to the original title by Wedekind after he read through my blog. He knew from the beginning what I mean with the title: the interpenetration of moral rules and prostitution that society, namely spoken „Hookers Republik“, generates and represents. All he did ingeniously was to adjust the timeless questions Frank Wedekind raised more than 100 years ago, linked up with today’s world:
first, how much capable is society to bear „life“, „shamelessness“ and individual „unconditional“ demand of beeing loved, for what LULU stands for, and second, how many double standards were/are produced by society?
Well, we all went through a lot of work and challenges the last two months but then at the end the premiere and the following auditions were fully booked. Happy ending.
I only show you one pic from the last scene that was made during the last rehearsal;
its when the choir turns up again after Lulu’s finally death we resurrect to speak out the Goldschwanz Manifesto (it is written by myself and shortened dramaturgical) that reveals, surprisingly for the audience, the political mission and purposes, framed by satirical elements and reminds me of the clouds-choir by aristophanes. Its also to pay my homage to Frank Wedekind and his love of grotesque. The manifesto reveals the ethos of the choir and its true self: truthfulness, love & respect; it was necessarily for me to set a counterpoint against violence and the power of social exclusion. It is also a kind of ‚report by messenger‘ as it is part of the old greek tragedy.
We are 12 women, sexworkers, former and still working individuals, everyone is very special and loveable, together with four more young talented actrices who strenghten the choir with their skilled voices; for me the choir represents solidarity of all sexworkers beyond dividing realities and most of all we are the citizens as in the ancient greek polis. We are coming from all different backgrounds with experiences from the streets, brothels, escort (agency and independent), porn actrices, self employed masseuses, subs, mistresses; it was a really tough work for all of us, not only that the girls who still working havent enough time for dating and to do their other jobs, studies – the rehearsals took over 7 weeks, 6 days a week, 6 hours a day – but also because we reflect our life long experiences, as women and sexworkers, with all advantages and disadvantages. All of our personal texts and confessions, interwoven in the frame story of the original LULU, are spoken by ourselves in sometimes smaller and larger alternately choirs and the origin of the different statements cant get track back individually (to take care of „voyeurism“ and our protection). Many of the critics in the media conjunct in solidarity with nicks & hacks in german escort and theatre message boards were awful and full of sentiments led by a parochial critic notably known as a coke addict associated with a gruesome narcissistic personality „drop-out“ taken leave of all senses and seek the public eye of the national press, stage granted i.e. Süddeutsche Zeitung and made a fool of themselves.
But we got some very good critics published in well known newspapers like FAZ and channels, radio and tv. Some of the critics werent able to reflect that we didnt fulfill their projections, others criticized we would perform „clichés“, both are miserable and stupid and attested their ignorance and resistance against „realities“. Sorry, we are not willing to fulfill „their“ projections and wet dreams of mindfucking wankers.
We come from all different classes, some more privileged than others, and also from all spheres of the so called adult industry, some of us experienced almost all different fields, we made very different experiences, but we ve a lots in common, as all activists know and we speak out against hypocrisy, violence, discourse and criminalisation (including of our clients). People who argue that we strenghten the victimisation discourse fail in a way, they cant understand that we reflect some of our experiences but also thats of people worldwide; the manifesto is more about self empowerment and how we act and appear on stage is powerful and confident. We play LULU, a figure, that inherits a part of our experiences. Some critics speak about „performing clichés“ but we are not blamable if many of us become victims of criminalisation, abuse, violence and stigma. The origin doesnt lie in ourselves but in withhelding our rights, societies who outlawed us. Hailing to the german critics with the words of Sadie Lune, performance artist and former sexworker, slightly modified: „Stop punishing me (us) just because you may not be able to imagine being me.“ I think I ll translate the manifesto so that you can read and distribute it on message boards. Time has come to stand together, respectful clients together with self-determined working girls to enjoy most of our time we spend together safely for both sides.
Forthcoming auditions start from january the 20th and early february at Schaubühne Berlin. If you speak german and love theatre, the discussion between high & low culture makes you boring and you are used to think independently then let me know when you are in town to organise a ticket or to have a chat & more thereafter.
My next trip to UK has not been scheduled, because of the weather and my favourite destination in Kent has gone. Email me and I let you know asap when I m back in London or I sort it out according to your plans & schedule. Before then I m staying in Berlin and I m available by request!
I wish you a lovely new years eve whereever you are and send you warmest greetings from Berlin (temperature is at its lowest -10 to -15 degrees) brrrr …
hugs & kisses, yours
ariane aka fraulein goldschwanz
uups, I missed the words „bigotry“ beside hypocrisy, sorry I forgot … he he .. PISA critics you are condemned to hell!