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Protocols of the body sexuality

Dance is always freedom. 

A dance play Wild Apples Bordello is a civilisational dream of paradise, a "civilised" man's dream of true love and true human freedom. This paradoxical "paradise drama", very compact in structure, comprises a Spring Overture (reminiscent of a movie trailer, and which includes, among else, a new dance arts programme) and seven scenes, that is Petals, in seven colours of the rainbow (First Petal, prelude, adagio, red; Second Petal, adagissimo, orange; Third Petal, vivo, yellow; Fourth Petal, vivace, green; Fifth Petal, presto, light blue; Sixth Petal, forte, dark blue, and Seventh Petal, fortissimo, violet).

The theme of Wild Apples Bordello is a celebration of human love within the frame of the overall drama of nature (the Greek word "drama" means "action"), within the context of birth, life and death. In this dance play of the civilisational dream, tragedy, comedy and melodrama do not exist because the civilisation in which the tragic split into subject and object occurred does not exist. The theme of the dance play is conveyed through a story of the Rainbow Tribe, a relatively happy family of seven (Isadora, Jean Georges, Martha, Alwin, Trisha, Mark and Pina), which takes place on an exciting spring day in paradise, filled with love, running, dancing, talking and shouting. Interwoven into the story is our, civilisational, dream of a paradise on Earth that precedes all religions, of a paradise in which apples were the only "currency", where apples were eaten without even the slightest thought about the "symbolic burden" of conscience or love. Apples were apples – a tasty fruit of lovely red colour, the favourite colour of the inhabitants of paradise. With good gradation through seven petals, this dance play talks about a paradise in which bordello represents a bawdyhouse of unbridled nature (or "a house of tolerance", as bordellos used to be called in France). This is a story about a bawdyhouse of nature, where all living things ran and danced with natural moves, such moves that once were Isadora Duncan's dream.


Unfortunately, this dream of a paradise would not be possible without civilisation, predominantly a civilisation of war. Because of this, in Wild Apples Bordello the on-stage action is "accompanied" by video-wall action. From the very first scene, the First Petal, wars rage on the video wall, from antic wars and Spartacus's rebellion, through both World Wars and the most recent wars in the Balkans, in the region of former Yugoslavia, to everyday bloody military and terroristic events around the world (Middle East, Far East, North America, Iraq, etc.). In short, the dance play Wild Apples Bordello is made of two intense processes, two intensely interwoven stories: the story of a civilisational dream and the war story of the very same civilisation that made that dream possible. Released together through the tissue of the play, these two stories are in fact one single story about the hellish counterpoints of happiness and unhappiness. The completely obvious optimism of the dancing Rainbow Tribe (in seven Petals on stage) is constantly threatened by the "war version" of the world on the video wall. Still, nothing can stop the dream once it has begun, and it began with the first dance step in the early dawn of mankind's time. The energy of dance and movement holds the power of an unbridled bawdyhouse of nature. In this context, dance is freedom, and cum grano salis it is the same outside of that context. Dance is always freedom.


YEAR OF PRODUCTION: 2012.

 FEMALE CHARACTERS: 4

 MALE CHARACTERS: 3

 TRANSLATION: Vedrana Zupanič

 COPYRIGHT: Full copyright



 Spring overture

The stage is covered with fine pale-yellow sand, much like that of a sandy sea beach. The background is light blue. There is a video screen in the upper part of the background. There are 2000 apples on the sand, and one more is placed in the middle of the background underneath the video screen. If sand is not available the stage should be covered with several layers of green gauze and the apples spread around on top of it.

Very loud twittering, chirruping, and warbling of birds, particularly of sparrows, is heard from the time that the audience starts entering the auditorium. When the auditorium is full and all the doors closed the birdsong continues for another 7 seconds. The ceasing of birdsong and lights-out mark the beginning of the performance. Then 7 gong strikes are heard. Each is precisely 7 seconds apart from the previous, which is about as long as the echo of the gong usually sounds anyway. Then: silence and darkness. This ‘clinical death of the world’ lasts 7 seconds and then the beginning of Richard Strauss’s Also Sprach Zarathustra is heard, which lasts approximately one minute. Then the following things occur simultaneously and last till the end of the Overture.

1) A sweet, siren-like, female voice (Isadora), slightly sexually aroused, reads over the loudspeakers A Blue Word at the Beginning of the Millennium.

2) Writing in the upper part of the video screen:


Menstruation is a very positive phenomenon.

Suzanne from the neighbourhood


An apple a day keeps the doctor away

English proverb


If we cannot silence the guns, let not the guns silence us.

Author unknown


Before leaving listen to music and have a fuck on the blue planet.

Let this fucking Earth vibrate from our musical voices, our dance moves, and our orgasms.

Milko Valent


On the video screen, bellow these four quotations, begins a series of fragments from all 7 scenes/Petals of this erotic dance drama, this ‘rainbow-coloured rhapsody’ of a kind.

3) A laser-beam play in the 7 colours of the rainbow.

Note

There is no music as such. The music is the female voice, voice of Isadora from this performance, a softly yet expressively purring voice.

FEMALE VOICE: My name is Milk. Welcome to Wild Apples Bordello, to the Polyphonic bastard No 3. Isadora, Jean Georges, Martha, Trisha, Pina, Alwin and Mark send their hellos. This word of mine, A Blue Word At The Beginning Of The Millennium, is directed towards audience, playwrights, music composers and performers, towards actors/dancers, artists of light, choreographers, and directors, as well as towards all the people of good will, especially our Pope the Traveller.

Snap out of that dogmatic slumber! Down with the ballet and dance pornography! It’s time to restore to old Europe and the Old World the true vivacity of pre-Christian dance communism. Down with Millennium boredom! Screw the idiocy of classical ballet and modern dance! Fuck the millennium hypocrisy of movement, dance, and sexuality! I’m telling you all this for the following reason: I still haven’t seen a true erotic dance drama.

In my erotic dance theatre there are no costumes, no makeup, masks or large and extravagant scenery. Actors/dancers are stark naked. The true glamour flows from the wholeness of their being and movement. The choreographers, or directors, should contribute to that. With motion and dance, the movement and swaying of human extremities, such as a penis or breasts, is an integral part of the dance indeterminism of the body; the indeterminism which is only slightly emphasised and stylised in theatre shows. Speech, motion, dance, music, lighting, and minimal scenery are basic elements of my erotic dance dramas.

Motion must always be such that it suits the original, ‘uncivilised’ anatomy of the human body. Of course, spontaneous movements can also be choreographed. That is then ‘intensification of original spontaneity’. For example, telling the actor/dancer to turn round five or, let’s say, exactly seven times.

Dance, as ‘exalted movement’ or ‘extended movement’, is in this drama of pre-Christian dance communism only slightly stylised, and in group scenes or body figures only slightly ritualised. The director/choreographer gently directs and organises the ideas of the playwright. He does not torment the bodies of actors/dancers as it has been done for centuries both in the East and West. In other words, the director/choreographer strives to ‘unobtrusive’ perfection of the ‘story of the body’ within the frame of the ‘story of the drama’. Nothing more, nothing less. He does not use the totalitarianism of the ballet’s notation. He uses no ‘notation’ except for that which is essential for the drama; he only slightly stylises and ‘ritualises’. Here, in my theatre, we are not in an acrobatic circus, we do not dance ballet, and we are not at Gymnastic Olympic Games. We are in the everyday body of life, and in the life of the theatre which is ‘aestheticised’ and which shows through art the possibilities of human striving towards freedom. Since this heaven does not exist except as a civilisational dream of freedom, Wild Apples Bordello is precisely that dream. It is a dramatic epic about the drama of heaven. The director/choreographer will have a hard time realising this drama of heaven. Why? Because he/she must direct/choreograph a dream, that is, an eternal waking of warm spring and sweet sexual chaos. The choreography of chaos, in other words adequate ordering of primary chaos of eros (desire) and sexuality, is the hardest task for today’s choreographers. The hardest task in this almost completely fucked up civilisation of absolute capitalism where on every step from alleged order emanates chaos as such, and not aestheticised chaos of theatre or of the heaven of authentic human sexuality. I won’t go any further into details. Those who wish to do so can find out more about the scientific theory of chaos from other sources. I admit, in my theatre the hardest thing is choreographing the return to cheerful hedonism. But the results will offer such pleasure about which all artists dream; a pleasure of an integral work of art. The new choreography of happiness has a positive utopian task, a hard task, and it is definitely feasible.

Music. Everything is music, both noise and relative silence. Relative since in our world there is no such thing as absolute silence. Even in the quietest of silences we can hear our heart beating, our blood pumping, circulating. Everything is music. Voices of nature, chirruping of birds, thunder, rain, playing of instruments, organised playing of instruments as ‘taming’ of sound, etc. In music I allow the strictly codified language of music, and notification as a positive diversion of beauty. But not in dance. I know I am somewhat paradoxical, and you will like me for it. Because, just like me, you too live in a paradoxical world of art as life and life as art. For my erotic dance dramas it is best that a composer makes original music from beginning to end; a fine ‘chaotic’ soundtrack. Of course, taking into account my instructions. So, for example, where I wrote that a cello or flute should play, he should incorporate that into his composition. And where I wrote that chirruping of sparrows is heard, he should leave it as it is. That ‘ambient’ music should simply be recorded in nature and then integrated into the original composition. The rest I leave to the composer’s musical imagination. Still, here are some suggestions for Wild Apples Bordello. It is desirable that the composer from time to time, at his own discretion and where he deems necessary, inserts into his own music short variations of the musical heritage or short pieces from the originals. For instance: from classical music (Bach, Schubert, Beethoven, etc.), from modern music (Cage, Malec, Xenakis, Glass, Kelemen, etc.), from jazz and all the various rock’n’roll offshoots (hard rock, heavy metal, psychedelia, hip-hop, reggae, rap, etc.). Also, folk music from all over the world should be used, especially the music of folk-dances and folklore, particularly that of oriental origin and that which uses only drums; some African music, for example, or why not even sometimes that of Japanese Kodo drums. So on, and so forth. So, the composer can use anything and as much as suits him from the world’s musical heritage, but shouldn’t neglect his own composition created for my erotic dance drama. What I have mentioned is not musical eclecticism because the melody of the original composer’s music, the soundtrack of my drama, is very much audible and recognisable. What I mean to say is that a contemporary composer must also ‘choreograph’ the musical heritage, just as the sounds of nature, the sounds of our world. It is very important to point out that the co-operation of director/choreographer and composer must be very close, vigorous, and relatively compatible.

Lighting. Play of light is extremely important in my theatre, as there are no costumes, makeup, etc. The lighting artist is welcome to give free course to his passions to the fullest extent. But still, my short instructions regarding lights should be precisely followed, particularly in Wild Apples Bordello, where I use 7 primary colours of the rainbow for the 7 scenes/Petals. ‘Mixing’ of lights is allowed but provided that the specified primary colour is visible. ‘Focusing’ is welcome and where so specified it must necessarily be carried out. The lighting artist is aware of the limitless freedom of light. In Wild Apples Bordello this freedom is only slightly limited by my instructions.

Speech. It is sufficient to tell the actors/dancers to move normally and speak in accordance with my instructions that are organised by the director, that is, choreographer. They must naturally follow his vision of my vision, as the director/choreographer is an artist as well when it comes to his part of the work. As far as speech is concerned, ‘theatrical speech’ does not exist in my dramas unless I strictly specified otherwise. Actors/dancers are to speak naturally, normally, and in accordance with playwright’s instructions, if there are any, or in accordance with the roles they are playing. If they do so, they cannot go wrong. With their emotions, the primary emotions of the body, and their creative imagination of simultaneous interpretation of both themselves and of their roles, they will be that which the ideal of every actor/dancer is. They will be artists in the creation of life as art and in the creation of art’s life.

(Chirruping of sparrows that lasts 7 seconds, and then the FEMALE VOICE continues)

As we all can’t wait to see Wild Apples Bordello, there’s no need to explain my poetics in more detail. Still, for your information, it has a simple title, Green Poetics, and a simple subtitle: Absolute Romanticism of Performance Arts.

A few words about the place of performance. Although Wild Apples Bordello was originally written for theatre, thus making the theatre an ideal place for its performance, it can be performed in any space that satisfies the basic technical conditions. For example: garages, factories, hotel-boats, meadows or clearings, village yards and those in suburbs of large cities, underground railways, hospitals, prisons, and especially psychiatric clinics world-wide. When it comes to alternative spaces, my dream and suggestion is to stage Wild Apples Bordello in a real brothel, let’s say in Amsterdam, or Paris, or Hamburg, or Shanghai, or Tokyo, so as to make the distinction between art and life visible. Because in heaven, in Wild Apples Bordello, although the plot, or drama, is similar, the only form of payment are precisely apples. Still, it has to be said that in Wild Apples Bordello, that is to say in my drama, the place of action is somewhere in the Earth’s/World’s warm south. In other words, in such a place which was already dreamt about by the unfortunate Artaud.

Time of action is placed prior to contemporary civilisation, yet during a civilisation where language, that is to say speech, is fully developed. However writing has still not been invented. Language is completely formed and so is its vocabulary, which uses ‘dirty’ words entirely naturally, just like it does nowadays in private discourse. However, the awareness of ‘dirty’ words did not exist then, as contemporary civilisation and its essential part, hypocrisy, did not exist either. Hard-working and earnest Susanne K. Langer reports in her masterly work Philosophy in a New Key, that there is no such thing as an amorphous and imperfect language. She furthermore states that all human races posses a complete and articulated language, including the ‘primitive’ inhabitants of rainforests and the brutal cannibals who have lived for centuries on islands isolated from the rest of the world.

Theme of Wild Apples Bordello is the celebration of human sexuality within the frame of the universal drama of nature, within the frame of birth, life, and death. Tragedy, comedy, and melodrama are non-existent in this drama, since the civilisation in which the tragic division to subject and object occurred is non-existent as well. So, what exists in my erotic dance drama is ‘only’ an exciting and gripping action, simply termed by Wilhelm Reich as ‘that little of human happiness’. Thus much about Wild Apples Bordello. The overture is finished. You’ve heard my Blue Word at the Beginning of the Millennium. I thank you for your attention. And now let heaven on Earth begin, let Wild Apples Bordello start. Enjoy the seven beautiful and moist Petals. My name is Milk.

The voice stops. The play of lights stops. Accompanied by music, text starts slowly gliding across the video screen, in sections as indicated.

____________________________________________________

 WILD APPLES BORDELLO

(Polyphonic bastard No 3)

dance theatre

dance drama

______________________________________________________

PEOPLE

ISADORA, mother, 36

JEAN GEORGES, father, 37

MARTHA, daughter and sister, 20

ALWIN, son and brother, 19

TRISHA, daughter and sister, 18

MARK, son and brother, 17

PINA, daughter and sister, 16

______________________________________________________

This relatively happy family, let’s call them Rainbow Tribe, lives in pre-Christian dance communism of nature. They live on the Earth’s warm south, in heaven on earth, where eternal waking of eternal spring rules. They are always stark naked. Their bodies are such as they are. In heaven all bodies are good, neither beautiful nor ugly. Children, young people and old people know not of neither beautiful nor ugly bodies. Canons of beauty developed not until civilisation did.

_______________________________________________________

We watch and listen to 7 members of the Rainbow Tribe through 7 scenes, that is to say 7 Petals, which last 7 minutes each, in 7 primary colours of the rainbow: red, orange, yellow, green, light blue, dark blue, and violet. It can safely be said, about the member of this family, that they are people who have truly ran under the rainbow and through it. Moreover, they continue to do so every day.

_______________________________________________________

This is a story of an exciting spring day in heaven, full of action, that is to say drama that takes place among the members of that family. Someone might call them ‘noble savages’ but I simply call them people of nature who live in a time when incest, homosexuality, paedophilia, heterosexuality, pornography, and Freud do not yet exist. The word taboo was not even conceived then. There was no subject, no object. All was One and Everything in pleasure; all was Here and Now.

_______________________________________________________

This story is dedicated to the civilisational dream of heaven on earth which precedes all religions; of heaven where apples were the only form of payment, and where apples were eaten without even a slightest thought about the symbolic burden of the so called consciousness or love. Apples were apples: a tasty fruit of lovely red colour, the favourite colour of the heaven’s inhabitants. This story is dedicated to a heaven where bordello stands for some kind of a public house (not a pub), in fact a public place of unbridled nature, because privacy doesn’t even exist. It stands for free living, eating, fucking and dying. This is a story about a public house of nature, where all living things ran and danced with natural moves, so dreamed about by the unfortunate Isadora Duncan. Everybody danced. Everybody saw orgasm as a beautiful outburst of pleasure. Everybody danced and shouted laughing: ‘Mum, I love you!’

_______________________________________________________

All 7 people cheerfully: Mum, I love you!

Loud twittering of birds, especially sparrows. Writing on the video screen:

FIRST PETAL

(prelude, adagio, red light)

The title is substituted by civilisational horror. On the video screen images of wars start. From antic wars and Spartacus’s rebellion, through both World Wars and the most recent wars on the Balkans (in the region of ex-Yugoslavia), to everyday bloody clashes world-wide (Near East, Far East, Basques, Northern Ireland, etc.). Images of killing and wars continue throughout the show. Of course, meanwhile on the stage heaven takes place. Music continues uninterrupted, unless differently specified. The music of war blood, and then of artillery, etc., is substituted by music that is partially connected to the action of each of the 7 Petals, and at times by chirruping of birds.

On the stage covered by sand and red apples, the members of the Rainbow Tribe family lazily roll around. They are only just waking up and already they are laughing cheerfully. They rub their eyes as they put ivy-wreaths on their heads. Some get up and go pee or poo. Short-lasting chirruping of sparrows, sound of flute or an ordinary shepherd’s pipe. Red light; crimson morning; dawn is breaking more and more bathed in sunlight. Once again music mixed with chirruping of sparrows. Of course, throughout the whole First Petal lighting is based on shades of red. When people speak, the sound from the video screen or of composer’s music is turned down but not all the way. Only so much as to allow the audience to hear clearly the members of the Rainbow Tribe.

PINA (stretching sleepily addresses everyone): I had a strange dream.

ISADORA motherly: Tell us about it. Rainbow Tribe likes dreaming and later discussing it.

JEAN GEORGES: That’s right. Tell us, Pina.

MARK (gets up cheerfully and goes to take a piss scratching his balls and cock): I had a better dream. Pina is only trying to make herself important. I know her.

JEAN GEORGES (seemingly sternly): Mark, not a word more. And try not to piss on any of the apples like you did yesterday.

ISADORA: Tell us, Pina.

PINA (frowning and scratching her head): I dreamt … I dreamt of a bearded man who wore some black-leather outfit. In his hand he held a red object, and later a black one. And there were some funny long and short lines on them. (Cheerfully.) Here, I’ll draw it for you.

Pina draws lines in the sand. On the video screen the war action stops for a while and we see that Pina clumsy drew the letters: HOLLY BIBLE and BIBLE (BIBLIJA, in Croatian). The writing stays on the video screen for 7 seconds. Then it is again substituted by images of war.

TRISHA: They really are quite funny, these lines. You always dream some kinds of lines.

PINA: Yes. And I always get frightened by them and wake up. Then I watch the stars and that calms me down a little.

MARTHA (gets up and goes to her mother skipping merrily): Mum, I’d like to play with myself a little. Will you join me, mummy?

ISADORA: Not now, darling. I’m still tired. Dad and I fucked almost all night, ah, until the Moon disappeared. (Gently, laughing.) But you go on, honey. Masturbating is good for your health. (She turns to Pina.) You masturbate, too, Pina. And if there’s something you don’t know, just ask Martha and she’ll explain it all to you. (She turns to Mark.) Mark, why don’t you join your sisters. It’s nice to see boys and girls masturbating together.

PINA, MARK, MARTHA cheerfully: We’re going to masturbate, we’re going to masturbate…1

They all laugh. The three of them sit down forming a circle and start masturbating. Pina takes an apple, wipes the sand off, and eats. She eats and masturbates at the same time. As the three of them get more and more aroused, the others get up and joyfully skip around them. Then they join hands and dance around them. The sighs and cries of orgasms that come at different times mix with the cheerful shouting of those dancing around them. The jaunty Rainbow Tribe awoken by masturbation. They are happy and playful. After the orgasm, Mark gets up and joins the others, and a minute or two later Martha does the same. Pina is left alone and continues to masturbate with the apple. A lovely Botticellian scene.  Sparrows are chirruping. Composer’s music. On the video screen constantly horrors of war, briefly interrupted by writing: Second Petal, adagissimo, orange light.

SECOND PETAL

(adagissimo, orange light)

Jean Georges is drawing something in the sand. Isadora is scratching his back. Mark and Alwin are throwing apples to one another. Martha is eating an apple, and Trisha and Pina are talking.

PINA: I had another strange dream. Imagine, our Mark had something weird on his back. I’ll draw it for you. (She draws in the sand. On the screen Mark, naked, wearing a backpack and holding a knife in one hand and an apple in the other. He looks like a commando. The image stays on the video screen for 7 seconds and is then replaced by further images of wars.)

TRISHA (looks at the drawing): You always have weird dreams. I’m not listening to this any longer.

PINA: OK, then give me a kiss. I want to make out with you.

TRISHA: And I with you. But you have to give me an apple first.

PINA: (handing her an apple cheerfully): Here you go, Trisha. (She extends her arms towards her.) I love you, Trisha.

TRISHA: I love you, too, Pina.

The two sisters start kissing and making out. Light blue light on them. After images of lovemaking, the title of the next Petal on the video screen. It stays up for 7 seconds. Then on the video screen wars continue.

THIRD PETAL

(vivo, yellow light)

Everyone is dancing, twirling around and waving their hands. Then they join arms and dance in a single row. Then Jean Georges, Mark, Pina, Trisha, and Alwin separate from the others. Full of joy and holding hands they run towards the proscenium and stick their tongues out to the whole universe. Then Mark pulls Pina aside and leads her to the centre of the stage. The others run around as happy as children.

MARK: Come, Pina, my sister. I want to hug you. (He picks up an apple from the sand.) Here’s an apple for you.

PINA taking the apple: I want to hug you, too, Mark, my brother.

MARK excited: Come on, lie down now and we’ll hug and kiss and fuck.

PINA excited: OK, Mark. Oh how I want this; I want it, I want it!

The two young people make love on the sand in the middle of the apples. The others play with apples and dance. On the video screen wars. Music. After approximately five to six minutes they simultaneously orgasm sighing and shouting: ‘I love you, I love you, I love you!’ The title of the next Petal on the video screen. It stays up for 7 seconds.

FOURTH PETAL

(vivace, green light)

Playful members of the family. They are dancing and shouting. Happiness. Ivy-wreaths on their heads. Jean Georges is kneeling with his eyes closed, performing fellatio on Mark. Mark shouting: ‘Dad, I love you, I love you!’. Then he spreads his arms and waves. The others watch and gently sway dancing. After the fellatio Mark stretches out on the sand.

ALWIN purringly: Mark, do you want an apple?

MARK purringly: Yes, Alwin.

ALWIN lifting up an apple: Here’s an apple. Let’s go and fuck now a little.

MARK: Just don’t nibble my ears so hard again. It hurts.

ALWIN: Don’t worry, I won’t do it again. I’ll be gentle, my dear!

MARK: Then OK…

ALWIN: I’ll be gentle, dear Mark…

MARK: Dear Alwin…

The two of them make love in the centre of the stage. Everyone else runs around and shouts joyfully. Sound of a flute. Red light on them. After lovemaking, the title of the next Petal on the video screen. It stays up for 7 seconds.

FIFTH PETAL

(presto, light blue light)

JEAN GEORGES: I also dreamt some lines.

ISADORA: Draw them.

Jean draws lines with his finger. On the video screen images of wars are replaced by writing ‘’Incest is a game the whole family can play. Author unknown’’ which stays up for 7 seconds.

ISADORA (to Alwin): Come son. I want to play with you. Here’s an apple. (She hands him an apple.) I want to fuck you and watch the sun with eyes half-closed.

ALWIN approaching cheerfully: Mother, I love your pussy, and your tits, and the sun, and everything in this world.

ISADORA closing her eyes: Alwin…

ALWIN: Mom…

ISADORA: Son…

ALWIN: Mommy…

ISADORA: My dear… sweetie…

ALWIN: You’re my sweetie…

The two of them lie down in the centre of the stage/heaven. They kiss and hug. Alwin is lying and Isadora mounts him. She puts his penis inside her vagina and starts fucking him. Everyone dances around them laughing and shouting: ‘Isadora is fucking Alwin, Isadora is fucking Alwin. Alwin will be tired.’ Red light on them. Soon Isadora orgasms, and then Alwin too. Sound of a trumpet. After lovemaking, the title of the next Petal on the video screen. It stays up for 7 seconds.

SIXTH PETAL

(forte, dark blue light)

Everyone is dancing and running. Jean Georges, half-dancing, approaches Martha. They look at each other lovingly.

MARTHA handing him an apple: Here’s an apple. I want you.

JEAN GEORGES taking the apple: Martha, Martha, my love!

The two of them embrace, fall down onto the sand, and make love. The others keep dancing. Sand, apples, and happy people. Sound of a trumpet. After five to six minutes they both orgasm. After lovemaking, the title of the next Petal on the video screen. It stays up for 7 seconds.

SEVENTH PETAL

(fortissimo, violet light)

Everyone is dancing, and then at one point they all hug and start kissing. All 7 people in one inextricable knot of bodies in excited motion, sighs, and orgasms. Beautiful and innocent orgy, group sex, which lasts 5-6 minutes. After the orgy, the hormonal panic of eternal spring, rolling on the sand among the apples. Resting of exhausted people. An idyllic image. The primary violet light turns into colour of twilight.

JEAN GEORGES fatherly: Children, it’ll be night soon. It’s bedtime.

TRISHA sleepily: But I’d like to kiss with all of you some more.

JEAN GEORGES soothingly: Quiet, sweetheart, you’re tired. We’re all tired. Let’s go to bed. Tomorrow’s a new day. Good night.

EVERYONE: Good night.

Music stops. Audience leaves the auditorium accompanied by chirruping of sparrows that is slowly dying down. On the video screen images of wars are replaced by writing: ‘Good night. See you soon at the same place. My name is Milk.’



1 Considering that Wild Apples Bordello is by nature of things a work in progress of sorts, the dialogues are only outlined, and will be expanded according to need in the course of staging the play. Nevertheless, the type of dialogue for each Petal is very representative and it shows the way and the atmosphere. In heaven all dialogues are poetic, even when People argue or use ‘dirty’ words, which are in heaven not ‘dirty’, of course, and which are all connected with natural human needs: pissing, shitting, masturbating or fucking, joking around or dancing, shouting, talking, and singing. That is how our dream of heaven wants it.



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