Lynn would like a dog but doesn’t have a flat. Eva would like one too, but wonders whether it’s okay to be master over another living creature. Both dream of a warm, breathing product of their love: their Dyke Dog.
How is the world narrated from a queer lesbian point of view? How can we generate awareness without performing woke visibility? What is the context in which I replicate myself and my desire on a daily basis? And what indication does it provide for what a supportive future might look like?
Lesbian visibility in the theatre is in poor shape. While the classic theatre canon almost completely disregards lesbian protagonists, modern and oft- performed adaptations such as »The Bitter Tears of Petra von Kant« by Rainer Werner Fassbinder and Ingmar Bergman’s »Persona« follow in the tradition of lesbian pulp fiction. Queerness is not permitted a happy ending here.
And yet »stories that I would have liked to have seen as a young lesbian girl«, as Paula Knüpling from the cmd+c theatre collective points out, would appear to be important for meeting the diversity aspirations formulated by theatres themselves.
Bolshy, assertive, recalcitrant and playful, the »Dyke Dogs« want to focus on the perspective of queers and lesbians and »take into account more than just mainstream society.«
»Dyke Dogs« is a series of events curated by the collective of the same name which comprises Eva Tepest and Lynn Takeo Musiol. Both have studied something related to sociology, have water signs in their horoscopes and grew up in the post-industrial Rhineland. They have been writing, curating and performing together since 2018. Their maxim: Dyke is a riot. Dyke is tragic. Dyke is always insufficient.
Diana Swieca (Licht)
Ulla Willis (Ausstattung)
Schaubühne am Lehniner Platz