Lolita For Altid
Lyddesign og Qlab Programmering
A uncompromising and cheeky performance concert about gender, body, harassment, identity, and sexuality - told by the young girl herself.
It is the young girl's debut. Her first encounter with the audience. The clamshell reveals her, as in Botticelli's famous painting 'The Birth of Venus' from 1468. Her skin is smooth, her body is beautiful, her eyes are open, her hair billows all over the place, and she is SO ready to meet us.
She doesn't yet know how much power she has. But time passes and she loses her innocence, her looks, her youth, her power. And we lose interest in her. If only Lolita could be Lolita forever...
LOLITA FOR ALTID is based on the paradox that young girls on the one hand can exploit their gender and age to advance their careers and social life. And on the other hand, they want to be something other than just their gender and age, because it makes them vulnerable and undermines their position as free individuals.
LOLITA FOR ALTID is produced by How to Kill a Dog, consisting of director Jennifer Vedsted Christiansen and actress and musician Emma Sehested Høeg. The same duo was behind the critical and audience success Welcome to Pandora, which previously played at Reaktor.
About How to Kill a Dog
How to Kill a Dog has been selected for 'The Young Artistic Elite', a talent program under the Danish Arts Foundation. The Danish Arts Foundation justifies the selection by stating: 'How to Kill a Dog is an artist duo that has quickly achieved cult status. With formats that blend performance, storytelling, and concert, they explore, among other things, the role of women in society in a constant negotiation of sexuality, body, and gender.'
Revolver is proud to have presented the duo's first two performances and established a three-year collaboration with them. They fit beautifully into Revolver's declared ambition to show disturbing, artistically ambitious works that explore what theater can do in a contemporary artistic context.
Lolita for Altid won the 2021 Reumert Award for Best Musical/Theater with the following justification:
Out of the clamshell rose a naked, self-absorbed projection of the ancient game of genders. Her singing was sensual, she looked like innocence itself, but behind her kissing lips, the performance showed teeth as it sunk into the genitals of the genders' culturally created desire. It was musical female satire in an orgy of pink fantasies. Raw and gifted. And deeply original.