In a time too distant to imagine, too absurd to be recognized I witnessed an act that left me in a perpetual state of torment. It still has not left me. It never will.
Let me tell you a story.

 

This is the point of inquiry. A deconstruction and historical tracing of λόγος – Logos. The Western logos entered the stage of the world theater in the Ancients referring to the law/reason of the divine of which mortals could discover the ultimate truths of the universe. Cutting some thousands of years short we ended up in the resignation and death of god to be left with a non-transcendent logos. Free standing, independent of any ultimate truths or divine interventions – what we today call logic has developed into the faculties of which we place judgment and separate good from bad. In the East a different tradition and development took place. From scholars investigating the foundations of our mind through Ibn Sina to poets like Rumi they were too caught up in mending reason with religion that they missed – or perhaps weren’t even invited – to the burial of God that took place in the West.

 

 

This is not a critique. It is an exploration. An important exploration. The tides are changing in the world, in our countries, our homes, our families – we need to be aware of where it is taking us. The question is political – in its truest sense. Although, when confronted with the expression of political theater we shudder. The shudder comes from the threat of politics imposing its superficiality on the art of performance. The theater already bears in its core politikos; to be of, for, or relating to citizens. There is no need to super-impose something that is already there – working silently in the expressions of the senses.

 

PILLARS OF BLOOD has no definition. It is a state of poetry. Of questioning the blood stained pillars of our communities.

Borrowing themes from Albert Camus’ protagonist Caligula we too search for the impossible in the midst of our illogical everyday lives. We invite you to a performance devoted to crossing the borders of the possible.

 

 

DIRECTION: Anmar Taha

WITH: Lena Dahlén, Josephine Gray, Anmar Taha

PRODUCTION: IRAQI BODIES

CO-PARTNER: Angereds Teater

DEVELOPED IN RESIDENCY AT: Akropoditi Dance Theater, Angered Teater and Borås Region Teater Väst Dans

SUPPORTED BY: The Swedish Arts Council and The Culture Committee of Gothenburg City