At its core, I would say that HUNTER is about dangerously obsessive desire. The kind of intoxicating desire that grabs you by the throat and pins you down and takes your life; and you let it destroy you and adore every second of it.
In the depths of a private locked room, HUNTER toys with the redemptive process of a classical tragedy, whereby a character is made to gain insight through suffering. Though in this tragedy, performer and choreographer Courtney May Robertson enacts so-called life-affirming monstrosities upon herself and her life-sized doppelgänger in doll form. The duo – one of flesh and blood, the other crafted from foam and silicone – map out the internal torments and ecstasies of an individual in conflict with a society that upholds purity as a moral standard.
Inspired by Horror, BDSM* and Melodrama, a tapestry of images are woven in which the grotesque, sexual perversion and excessiveness become triumphant symbols for bodily autonomy and empowerment. Spectators are invited to enter a space where the rigid dichotomy between repulsion and attraction dissolves. Courtney is convinced that when shame is suspended the visceral emotion of disgust, generally associated with aversion, has the capacity to transform into paradoxical intrigue. Propelled by an industrial soundscape composed by ‘Acidic Male’, in HUNTER self-destruction is embraced as an act of self-preservation.
— This performance is not recommended by its creator for persons under 16 years of age.
Also, the performance contains flashing lights.
*BDSM: Abbreviation for Bondage and Discipline (BD), Dominance and Submission (DS), and Sadism and Masochism (SM), a term for sexual preferences and role-playing that involve imposed physical restrictions, intense sensory stimulation, or power play.
"Very subtly, Robertson - small in stature, with an angelic face and black hair through which a blue sheen shines - takes the audience on a journey of pain."— Theaterkrant
The winner of the VSCD Mime/Performance Award 2024. This mime winner is small in stature but big in performance.— De Volkskrant
