[spectre] New podcast: conversation with choreographer, performer, visual artist and drag king Antonia Baehr

Radio Web MACBA rwm2008 at gmail.com
Wed Jun 30 09:16:46 CEST 2021

*New podcast: conversation with choreographer, performer, visual artist and
drag king Antonia Baehr*

We talk to Antonia Baehr
<https://rwm.macba.cat/en/sonia/sonia-333-antonia-baehr> about switching
roles, about her strategies for collaboration, some of her alter egos,
gender stereotypes, and much, much more. Prepare for a bumpy ride that will
take you from scores and Fluxus, to imitation, fetishism, and socks, by way
of drag kings, drag queens, S&M, contracts, and even telepathic connections.

Link: https://rwm.macba.cat/en/sonia/sonia-333-antonia-baehr

Antonia Baehr’s <https://rwm.macba.cat/en/sonia/sonia-333-antonia-baehr>
works explore the fiction of the everyday and of the theatre, among other
themes. That’s how her official bio at the time of writing this starts. But
it does not fully convey the level of meticulousness that goes into her
performances in order to emphasise every little aspect of the area between
everyday life and the theatre. Her works are a bit like Venn diagrams that
plot and explore that very grey area in great detail.

It would be an understatement to say that her pieces acknowledge the
presence of the audience, or the conventions of the medium. Antonia’s works
nurture and encourage strange emotional feedback loops between performers
and the eye of the beholder –building, smashing and refashioning the fourth
wall as they unfold. But her work does not just play around with the fourth
wall, much of it actually takes place AT the fourth wall, or rather, it is
ABOUT the fourth wall itself. Antonia’s performances explore the unwritten
contract that establishes *stage* and *audience* as distinct, mutually
excluding zones. They speak about what it could mean to act, react to,
observe, and notice minute fissures in the interplay between the fictional
and the real, which warp the respective time-space continuums of actors and
audiences through all sorts of affective gymnastics.

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