In each show, we seek to reclaim the art, history and cultural identity of Roma, through stories told by us, Roma artists. The themes of our performances are diverse, but they all have something in common: we openly discuss topics that history, mentality and social or political constraints have often silenced. Our art is challenging, experimental and highly performative. Giuvlipen means feminism in the Romani language and is the first independent Roma feminist theatre company in Romania. Scenography & lighting concept assistant: Miruna Croitoru With: Arhanghela, Mihaela Drăgan, Zita Moldovan, Kitty Rhea, Răzvan Rotaru The show opens the conversation about trauma in a natural way, through the stories of five artists who open up to the public in a performative approach that combines confessional elements with fiction and the hedonistic imaginary.Ī show about trauma and hedonism, beyond dictionary definitions, but mostly about the healing power of vulnerability.
Trauma Kink is a show about how early life and adult traumas define our perception of intimacy and pleasure. Like his father he has deafening monikers: the Roarer or the Loud-Shouter. Other people’s dreams are rarely interesting to hear the same holds true for listening to other people’s kinks, at least in this collection.How much is kink and how much is trauma in our pleasures? How can we transform the histories of abuse, queerness, sexual consent, gathered over a lifetime into a form of resistance? Dionysus’s sense of aural kink matches this digital perversity. Many are flimsy and ineffective, relying too much on an obvious exchange of power, or keeping the concept of kink on too short a leash. DJ Vadims Aural Prostitution sample of O.C.s Times Up DJ Vadims Aural Prostitution sample of. Some stories, like handcuffs, are sturdier than others. Lady Gagas Aura sample of Infected Mushrooms Kink. The adhesions were divided, at which the obstruction was completely relieved. So long as they are playing, two people are totally accountable and listening to each other.” The small intestine was greatly dilated from kinking at its lower end. “In a disembodied floating space, S/m offers little pockets of theatricality and connection. Representing Kink raises awareness about nonnormative texts and erotic practices and desires through engagement with marginalized texts, practices, and ways. Vanessa Clark’s story about sex in a “drag transsexual nightclub” is at the same time deeply romantic and deliciously filthy, prompting my favorite line in the anthology, a description that, days later, I can still feel on my tongue.Īnd in the last story, called “Emotional Technologies,” Chris Kraus makes the case for the inherent performance of kink, writing about the “experimental theater” within sadomasochism. He wanted me to be the person I felt myself becoming now.” The now is with a new man, revisiting kink, fuller and readier than before. At one point in the story, the protagonist thinks of his ex-boyfriend, who had asked to be tied up: “He wanted me to be someone dirtier and more aggressive than I was then. As Kwon and Greenwell write in the introduction, the book serves to “recognize how the questions raised in intimate, kinky encounters - questions of power, agency, identity - can help us to interrogate and begin to rescript the larger cultural narratives that surround us.”Īlexander Chee, in a story about a successful Friendster date, writes movingly about kink as a measure of progress, the first step toward yourself.
The collection contains a diverse selection of writing (races, ethnicities, gender identities and sexualities of all types are represented) but, strangely, its portrait of kink itself is relatively uniform (nearly all the stories take kink to mean B.D.S.M.). Ostensibly, it’s more about the transformative nature of kink as a practice, and the different modalities - kink as anticipation, as communication, as processing, as a mind-eraser, as an anchor, as a code, as freedom - it can unleash. Kwon, the author of “The Incendiaries,” and Garth Greenwell, the author of “Cleanness.” I thought of that tweet often while reading “Kink,” a new anthology of short, sexual fiction compiled by R.
AURAL KINK FULL
Kwon and Garth GreenwellĪ tweet that’s haunted me (and there are many) is one that reads, “Most of sex is committing to the bit.” Good sex, yes, is full of tacit and explicit agreements, the central one being sex itself - the veil that can be drawn over partners, the temporary worlds built together, the setting of the stage.
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