Bladh & Cavefors MANIFEST

THE NEW THEATRE OF CRUELTY has a constant discourse with the universal theme violence-sex-death-cruelty, and THEATRE DECADENCE expose the possibilities of agere contra as an answer of the norm-terrorism. agere contra: break off the foundationalism of uniformity and release the traditions from the ancient Greeks, from Romans of the Roman Empire, from the equestrians of Middle Ages and from the decadency of to-day. Non-norms are, that’s our belief, the normal-reality and the norms are the real morbid, hokey, obtruded, the non-worthy. Howe’er, our actions are no and never outcries against the norm-society and it’s seers; we waive face-downs. We have no political declarations. We manifest how the abasement can be handled when we convert it to enjoyment and sexual absolutism and exhibitionism and a strict acceptation of it’s most profounded consequences, sperm, blood, whips. + + + Our first action/performance, related to Francis Bacon, Three Studies for a crucifixion, is followed by actions about the Roman paederast Heliogabalus and Gilles de Rais, the mediavel-boylover, the virtiuoso and aesthetican. An eon of twothousand years shall be visualized: how rites and Eucharistic adoration are transfigured in the flight of time, but still are ageless: Dionysiac indulgence, body and sex, distress, the surrender, blood and hangmen. + + + Ernst Jünger mention the “anark”, the man who smash the power in ignoring it, an individual resigning the normal. That’s our position. As Jean Genet said: “If our theatre stink it’s because all other plays stink good”. + + + Martin Bladh / Bo I. Cavefors