![]() Madame D (Katia Molino) obsessively relives her late husband Ehud’s repudiation of her urgent philosophical querying and his reduction of her to mere sexual being.Īggressively reclusive, the ageing Madame D bares her bottom at the window to passersby, dons monstrous masks, frightening the locals, cruelly refuses the sympathies of a neighbour and immerses herself compulsively in recalled dialogues with her husband. ![]() The subject’s stream of consciousness engagement with the past is fused with intimations of mortality and an intense focus on the body and the world of the senses. ![]() Once again, Theatre Kantanka, led by Brazilian-Australian director-designer Carlos Gomes (he’s written about scenography and about Brazilian theatre for RealTime), has created an idiosyncratic work that entices its audience to brave an unfamiliar world, this one conjured from the writing of Hilda Hilst (1930-2004), a Brazilian whose work is only beginning to appear in English translation.Ī poet, novelist and dramatist, Hilst was above all an experimenter who defied the formalism of the patriarchal literary order, writing from a distinctive female perspective: sensory, corporeal and aching to know “the sense of things.” All of this is evident in Hilst’s short novel Obscene Madame D and Kantanka’s account of it. ![]()
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