Film, as Rainer Werner Fassbinder put it, is “a holy whore”: a bewitching yet elusive medium. Now Michael Laub puts Goethe’s Faust in bed with Fassbinder’s Beware of a Holy Whore from 1971. In line with his reputation as Godfather of post-dramatic theatre, he underpins this act of tribute with a Cambodian appropriation of the Madison dance. In the latest “cinematographic play” by the Belgian choreographer, Fassbinder’s film and newly remade scenes mix with Weimar Classicism, animism and pop to become a post-colonial choreography – with an ensemble of 17 incredibly good performers from east and west.
Austrian premiere
