FICTIONS – Annabelle Dvir (Israel)

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An article by Luis Alberto Sosa Berlanga | June 13, 2022 | Achtung

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These three professionals set up a true coven, in which their "spells" took the form of songs and movements interspersed with such a sense of rhythm, a sense of aesthetics, rigor, and above all, a strong defense of what they were representing on the stage. What I'm talking about is the most eccentric and bizarre piece selected for this edition of the International Public Beta Exhibition.

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These three professionals put together a very difficult job to achieve the result they arrived at, given that, perfectly, they could have saved complications by having done half of what they staged, with a series of more or less conventional links, and they would not have had trouble getting approval from your audience. But they did not settle, they wanted to go as far as their imagination and willpower took them. Not to achieve something virtuous that sought technical excellence, but actually, to expose absolute delirium in the best of its versions. Which places them at the focus of all the comments: both the cruelest and unnecessary ones, as well as those that could raise them to a level, in which it is a matter of time, before a fan club of them is founded in Madrid. In this interval they moved, as if they were from the first research session for the production of Fictions , assuming their peculiar destiny. 

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The structure of Fictions is not narrative. At best, it had an internal logic that would take years to decipher the pattern that organizes it. So there was no way to predict what would follow the next scene, keeping us, the viewers, in a permanent state of alert. Behold, those of us who "entered into their games" abandoned any position that leads us to intellectually analyze what they were doing. At least in my case, I was inclined to "collect" in my memory the images that referred us to an imaginary in which people assigned the female gender had been mandated to materialize a series of behaviors. and ways of understanding the world, it does not surprise me that many have "lost their axis" (if I may use the expression) along the way.

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In such a way, that Fictions is postulated as a piece that is called to value the beings that have been badly injured in the attempt to comply with the norms with which all of us human beings have found ourselves at birth without first being we have committed in one way or another, to its militant compliance. There has only been a kind of coercion that has stalked us to determine if isolation, or being dehumanized, were the "sanctions" that best corresponded to our initiatives against a supposed natural order. That is why there is room to collect readings of feminist and Queer inspiration, through identifying the performative acts that constitute Fictions, under the "shelter" that it was "just a piece of performing arts."

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Therefore, it could be said that this piece sought to shake each of us viewers, including people who follow feminist and Queer traditions. It is not going to be, that they have been adapting to lands where they have had the enormous fortune, to insert safe spaces where they can be themselves with others where, let's say, they must maintain their composure and a certain decorum. I guess that's why Fictions can be so offbeat, even though its background isn't really avant-garde at all.

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In short, I think Fictions is a brilliant work that establishes Annabelle Dvir as a creator and interpreter, with the potential to be talked about beyond the borders of the country in which she develops her profession as an artist. Having said that, I invite you to continue delving into her imagery and stage language, so that exhaustiveness continues to be one of the pillars that will make her be the extraordinary creator she aims to be with this short piece.