The History of Bestiality Part One

In The History of Bestiality Part One by AKT 5/Fantastic Four the three actors sit onstage in large armchairs, drinking brown spirits and smoking cigars. They switch on telling the audience stories about The European Male. First the story is written, then it is ripped out of a protocol and then it is told in first person. This way the actors take responsibility for the stories and become the European Male in flesh and blood.

 The stories are confessions about abuse of animal and humans, about betrayal, failures and bestiality. After every story the audience is invited to take part. By the entrance the audience members were handed softguns and after the story the spectators are encouraged to shoot on the confessor, if they think he deserves a bullet.

The History of Bestiality Part One opened in 2007 and was performed in Black Box Teater. Part Two was performed in The Open Theatre (Det Åpne Teater), Part Three in The Torshov Theatre and Part Four again in Black Box Teater. In 2009, in connection with the opening of Part Four all the four productions were performed in a row in Black Box Teater.

Sources:

Scenekunst, scenekunst.no, 29.10.2010, http://www2.scenekunst.no/artikkel_3483.nml

Dagsavisen, dagsavisen.no, 29.10.2010, http://www.dagsavisen.no/kultur/inne-ute/article290464.ece

Dagbladet, dagbladet.no, 29.10.2010, http://www.dagbladet.no/tekstarkiv/artikkel.php?id=5001070052469&tag=item&words=bestialitetens%3Bhistorie

"After every story the audience is invited to take part. We are to shoot on the confessor if we mean he has deserved one of our bullets. To begin with the audience display both eagerness and anxiety in regard to the shooting. Handling weapons is not a daily activity, and it is with mixed emotions we act as executioners. But is it a good solution, shooting the confessors? Unfortunately we are never confronted with this. Instead the pistols become a somewhat funny kind to meter opinions, or like an anonymous reply to a reality show. Despite being armed, the audience remains rather passive, and we are never made responsible, the way the program promises."

Alnæs, Jørgen (28.04.2007). Review titled Skyt på skuespilleren! (literally: Shoot the actor). Dagsavisen, dagsavisen.no, 29.10.2010, http://www.dagsavisen.no/kultur/inne-ute/article290464.ece

"To a large degree this is a well planned production, in content and form, but released its potential is not. The deep dive the performing artists have made in the demanding material is a foundation leaving traces in the performance. If the actors relax and throw off the somewhat stiff school-like goodness asea, this will develop into an exciting project. It is not very fun writing negatively about debutantes, and I am uncertain if it has a purpose. This production is characterised by ambition, and can and should be regarded as a careful appetizer for what we have to expect from the Fantastic Four."

Leinslie, Elisabeth (27.04.2007). Uforløst appetittvekker (literally: Unresolved appetizer). Scenekunst, scenekunst.no, 29.10.2010, http://www2.scenekunst.no/artikkel_3483.nml

"Høgli, Hansen and Sjøgård Pettersen have found their basis in text excerpts from Bjørneboe, which they have partly edited down, party expanded. Prior to the performance they have made it clear that they will not adapt the novel trilogy, but use it «ideas, atmosphere and point of reference». That is a necessary pre-requisite. Moment of Freedom, which is the book this production is built on, is a philosophic story in which a middle-aged man in retrospect looks back on a life as a nomad. The theme is brutality and cynicism, as opposed to a wish to live in peace with the world, and already before one reaches page 45, one has witnessed murder and sex with animals. Also in the theatre version effects are strong. Everyone in the audience is equipped with a softgun of his/her own. The actors encourage us to shoot on them, and many follow the invitation. Porn is displayed on a large screen. In one sequence one of the actors hang near nude from a hook from the roof, while he is covered in ketchup. No wonder there is an 18 year age limit to see the performance."

Bikset, Lillian (24.04.2007) Beretninger om brutalitet (literally: Brutality narratives). Dagbladet, dagbladet.no, 29.10.2010, http://www.dagbladet.no/tekstarkiv/artikkel.php?id=5001070052469&tag=item&words=bestialitetens%3Bhistorie