Daddy, I've seen this piece six times before and I still don't know why they are hurting each other...

In the program of BIT Teatergarasjen the following, among other things, was written about Daddy, I've seen this piece six times before and I still don't know why they are hurting each other... by Robyn Orlin:

"Daddy, I've seen this piece six times before and I still don't know why they are hurting each other... is a spectacular mix of dance theatre, performance art, video and cabaret.

The stage is shaped like a ring, as made ready for a boxing match. Only the ropes are missing. Around the stage stands the audience, involved in a production continuously shifting rhythm and pace, and between beautiful images and destructive humour.

This is how the production took shape at the African continent, on stages in Europe and at Teatergarasjen during Bergen International Festival 2002. The intensity is what kindles the production and thus the theme.

In South Africa white art still dominates. Robyn Orlin was long regarded as a "bad girl" within South African dance. Today she is their international flagship. In Daddy... she shows her involvement as an artist and a human being.

The choreography is free and colourful and in the production she touches the political contradictions of her home country, using a light hand without dogmatically pointing fingers, but uncompromised and clear nevertheless. The images of a coloured ballerina gracefully dancing to music from The Swan Lake while putting on white talcum makes Orlin's involvement clear while dazzling us with its visual characteristics.

Orlin claims that Daddy... is partly about love and a group of people who are just not able to produce a production. Politically incorrect in every way Orlin discusses the medium of dance and political dilemmas in a way leading towards insight while leaving the audience room to fill out and make the strong colours even stronger.

Orlin's eyes and body are classically trained. Through scepticism to the same she has, because of and despite of this, become an alchemist of dance, transforming her material to a precious mixture of something sublimely anti-aesthetical."

Source:

BIT Teatergarasjen, spring program 2002.