On stage: Two women exposed as in a wrestling match, wavering between wanting to be beautiful objects and breaking all standards: grinning faces, crotches in the air and hair that totally veils the faces. What ugly, fair girls! (…)
(…) In three scenes to different music Godder and Iriz Eres give shape to the strategy of the observed. The gap between the coded, expected control and the instinct to do “wrong” gives birth to a row of innovative, dance driven and very physical situations that are both amusing and disturbing. The dancers put their hands between their legs, like children who have not yet been taught that this is inappropriate. The raw rock poetry of P J Harvey gives a congenial energy to their bare legged misnavigations. They tease and fight each other in a boyish manner. Violence is lurking. In the finale they are transformed into posing Fellini women, with hanged-on giant breasts, putting the hems of their skirts in their mouths. Silent and exposed – or? On who’s terms is the female body exposed? Is liberation a circular movement? If Godder sometimes is over-explicit, she also creates loaded disturbances and humour in close cooperation with Iris Erez.