I am a teacher in physical theatre, burlesque, drag, and performance art at the 1-year drama program in Sigtuna Folkhögskola. My focus, in line with my academic studies in techno feminist technoscience and post-humanism, relates to bodily expressions and face (mask) as artistic instruments in how to communicate on stage. Additionally, how we perform in everyday life bears a resemblance to theatrical acting, as I draw on aspects of “performativity” from sociologist Erving Goffman and Judith Butler. My intention is always to bring awareness to how we continuously perform in intra-action with other human or non-human agencies that surround us. Even in our dreams, the performance continues in the form of the rich inner myriad of personas that enter the dreamscape stage to communicate with us, and through us to the outer world.
This year’s class at Sigtuna presented a beautiful variety of numbers that were seamlessly woven together into the Kinky Winky Cabaret. The students felt happily high afterward, surprised by what they had created together as a group and individually to try out their very own expression on stage without following either script or the instructions of a director. This was true play, giving bliss to both performers and spectators. How we had missed collectively indulging in physical presents and bodily expressions throughout these years of the corona famine.