PORN PIGS - A LOVE STORY (DEDICATED TO HERMANN NITSCH ) read performance script
The room: a white rectangle 4, 5 x 3, 8 m. Along the northern wall stands a table covered with white cloth. On the table stand/lie: 10 ½-litres containers filled with blood, 1 metal bowl filled with pieces of animal skeleton, 1 glass jar with dead butterflies, 1 student dissection kit, 1 bottle of talcum powder, 1 5kg salmon. Along the southern wall stands a white metal bathtub. In the bathtub lie the intestines of two slaughtered pigs. In the far left of the western wall a door leads out into a corridor which exits the gallery. Two nails have been hammered into the far right corner of the same wall, from the nails hang one plastic pig mask and one conically shaped paper hat; the word “fool” has been written on the hat with clumsy letters. The eastern part of the gallery consists of the main entrance and a great exhibit window. The door and the window have been covered with white sheets. On the window ledge stands a TV and a DVD-player. On the floor in the middle of the room lies a seedy mattress covered with a white sheet, on the mattress under another white sheet lays the Passive Actor; naked, belly down, his face covered with a white mask (only his outlines are visible). At the foot of the mattress lies/stands a thick square shaped wooden block and a stationary, electric fan. On the wooden block stand/lie: 1 metal bowl, 1 rectal-syringe, 1 bottle of blue ink. Behind the wooden block, leaning against the wall stands 1 big sledgehammer. Two speakers are located in the gallery’s northeast and southwest corners. The music starts: volume 1. The TV-starts showing Stan Brakhage´s film The Act of Seeing with One’s Own Eyes. The audience enters the gallery through the door in the western wall. They have approximately 10 minutes to wander around the gallery room; watch the props and inhale the smell from the blood, intestines and raw fish. Actor 1 and Actor 2 enter the room trough the door in the western wall. Actor one wears white t-shirt and trousers; Actor 2 wears white vest and skirt (male/female); both are barefoot and wear green protective face-masks over their mouths. They walk over to the far end of the mattress, holding hands, staring with empty eyes at the sheet covered exhibit window (approximately 3 minutes). Actor 2 positions himself at the head of mattress; he leans down and stretches the white sheet which covers the passive actor. Actor 1 picks up the scissors from the dissecting kit on the table, walks back to the foot of the mattress, kneels down and cuts the stretched sheet according to a straight line until the Passive Actor is visible. Actor 2 tears the sheet in half. Actor 1 picks up a blood container; positioning himself in the northwest corner he puts on the fool’s hat, raises the blood container to his lips and pours the content into his mouth, releases the blood in a straight rivulet down his chin across the chest and belly down to the floor (the same procedure is repeated until the container’s empty). Meanwhile: Actor 2 puts on the pig mask, picks up the fish from the table and puts it down on the wooden block at the far end of the mattress, fills the metal bowl and rectal syringe with blue ink, walks back to the table, picks up a scalpel, walks back to the fish; cuts its belly open, tears out the intestines and sinks them in the metal bowl; picks them up and places them in a straight line across the Passive Actors back, takes of the pig mask and changes place with Actor 1 in the northwest corner. Actor 1 puts on the pig mask, picks up a blood container walks over to the bathtub, and slowly pours the blood over the intestines, knells in front of the tub, touches the flesh - punches and kneads it under his fists for several minutes until the bowls are breaking, rises to his feet and changes position with Actor 2 in the northwest corner. Meanwhile: Actor 2 picks up a blood container; he puts on the fool’s hat, raises the blood container to his lips, and pours the content into his mouth, releases the blood in a straight rivulet down his chin across the chest and belly down to the floor. The same procedure is repeated until the container is empty. Actor 2 puts on the pig mask, picks up the skeleton bones and places them on the wooden block at the foot of the mattress, picks up the sledge hammer, crushes the skeleton parts with a series of hard blows, walks over to the table, picks up the bottle of talcum powder and the jar of dead butterflies, collects the smashed skeleton pieces and turns on the electric fan, grinds the collected material against the rotating blade of the fan (it spreads through the room like ashes, like gas), takes of the pig mask and changes position with Actor 1 in the northwest corner. Meanwhile: Actor 1 picks up a blood container; he puts on the fool’s hat, raises the blood container to his lips and pours the content into his mouth, releases the blood in a straight rivulet down his chin across the chest and belly down to the floor. The same procedure is repeated until the container is empty. Actor 1 puts on the pig mask kneels in front of the foot of the mattress, puts his hands on the Passive Actors buttocks, kneads them, pushes the snout against the anus, hurls himself against the bathtub, grabs an armful of intestines, drops them on top the Passive Actor and copulates with them. Actor 2 exits the corner picks up a blood container and pours the blood over the copulating couple. Actor 1 takes of the pig mask, rises to his feet, he and Actor 2 walk over to the table, put on the green facemasks, walk over to the bathtub, pull out the remaining intestines, drop them on the passive actor’s back, knead them, pours blood over them, crushing them under their fists. (music volume: 1). The actors drop the intestines, rise to their feet, turn the Passive Actor on his back. Actor 2 picks up the salmon and places it over the Passive Actors genitals. Actor 1 and 2 walk over to the head end of the mattress, holding hands, starring with empty eyes at the sheet-covered exhibit window (approximately 3 minutes). (music: stop). Actor 1 and 2 help the Passive Actor to his feet and together they exit the room. … Idiot – Dirge: – right corner – facing wall – mouth cup (of sorrow) – digesting – vomiting – bleeding – pee-pee (soaked pants and bib) – static, willing – (Goya painting, class fool) – mercury – husband/wife – 1 Pig/Killer/Rapist – Excess: – evisceration – kneading – TV – cook – surgeon – undertaker – camera execution – pornography TV – (Gregory Dark) – sulphur – husband/wife: family – love and union – 1 + 1 (hermaphrodite) Victim - Vessel: - BACK: - rape- anal/frontal (?) - autopsy - (Stan Brakhage) - offal-blood-shit-toilet (container) - FRONT: - - genitals: cut open - placed back into the cavity (container) - putting back to pieces - wash and dry - stone - 0 (rise) … ---------------------------------------------------------------------------------------------------------------------------------------- Anthology: Hermann Nitsch – The Mysterium Coniunctionis: the coniunctio, the union of opposites, closely resembles the sacrificial procedures of mythology: ritual murder, castration and the most diverse forms of sacrificial death and extinction of the personality – which aim at the attainment of an often supernatural renewal. the union of opposites can be equated with the nocturnal sea-voyage, the descent into the bit, into the grave, into hell, the underworld or the subconscious. the coniunctio is identical with the central occurrence that pervades most myths when the figure of light is sacrificed, sacrifices himself, disappears or descends into a seemingly negative realm in order to undergo regeneration and renewal. death and the descent into the lower realms, into chaos, is followed by resurrection. a typical example is the passion of jesus christ and his resurrection (sweating blood on the mount of olives, drinking the cup of sorrow, his imprisonment, his chastisement, the crown of thorns, death on the cross, his descent into hell and his rising again on the third day). this need for masochistic sacrifice, for diving into the subconscious and chaotic, is not only to be found in myths, but also projects itself into alchemical procedures. A. L. Vincent and Clare Binns – Gilles de Rais: The Original Bluebeard: This aspect of the subject was founded upon certain metaphysical abstractions which, however vague and intangible, were free from extravagances of black magic. Gilles de Rais viewed the problem from his own original and distorted standpoint. The axiom of the mystical school of alchemists, “What is above is that which is below, and that which is below is that which is above,” was by him given a sinister application. Likewise a saying of Paracelsus that in order to secure the prima materia it was only necessary “to mix and coagulate the rose-coloured blood of the lion and gluten of the eagle,” was regarded by Gilles as conveying an obscene meaning. Anna Gekowski – Murder by Numbers: Fred and Rose West began by rehearsing sadistic sex in their fantasies, but soon it wasn’t satisfying enough to merely fantasize about an act, they had to perform it, with each other, and then with real victims. Caroline and Anne Marie were almost like experiments, trial-runs, and they were bound, gagged, blindfolded and sexually assaulted in a variety of ways. Eventually this was insufficiently exciting to the Wests, who had to keep inventing and enacting more extreme ways to make their victim suffer. It was almost inevitable that death would occur, as they became inured to lesser forms of torment and degradation. In some instances the Wests may have had other reasons for their murders (as was the case with Charmaine, Rena and Heather), but even in these cases the evidence shows that the victims were killed during sado-masochistic sex sessions in which murder provided the ultimate arousal. Lyndy Abraham – A Dictionary of Alchemical Imagery: Chemical Wedding - Alchemy is based on the hermetic view that man had become divided within himself, separated into two sexes, at the fall in the garden of Eden and could only regain his integral Adamic state when the opposing forces within him were reconciled. The union of these universal male and female forces produced that third substance or effect which could heal not only the disease of the physical world but also the affliction of the separated soul. Metaphysically, the chemical wedding is the perfect union of creative will or power (male) with wisdom (female) to produce pure love (the child, the Stone). The creation of this Stone always involves some kind of sacrifice or death. Thus emblems of the chemical wedding almost always include symbols of death which overshadowed the coniunctio. The amorous birds of prey copulate while devouring each other. The sixth emblem of The Rosary of the Philosophers shows the united lovers lying on a coffin. Ruth Bochner, Florence Halpern – The Clinical Application of the Rorschach test: Girl, compulsion neurosis, age 11, average intelligence 1. Two people fighting with their hands. 2. Fire and blood are around them, and they’re touching their hands together and fire is touching their heads and their feet. 3. The fire is looking on each other. They’re not happy, but they just look as though they were a little smiling, no, not smiling exactly. 4. There is a mark between them, and their arms can’t go between that mark except their hands. 1. Two skeletons holding two girls´ heads over skeleton bones. Their feet look like their hands; they are far apart from the rest of their body. 2. Fish falling down, a little like fish and a little like dogs. 3. There is a bow between them. 4. There’s a hole between the skeleton bones they’re putting the heads on. 5. The heads are alive and looking through that hole. They look like children’s heads. Gregory Dark – The Shocking Truth: Q: Tell me about the most disturbing sexual fantasy you’ve gotten off on? A: I… I’ve always been scared of letting anyone know this but I have this fantasy of getting raped. Q: That turns you on? A: Yes very much so…Being raped means being taken over by a man in surprise really turns me on. Q: You think men like your mouth because of the intelligent things you say or because you can suck dicks with it well? A: I think men like my mouth because how…how well I can suck dicks, because I don’t think they’re really interested in what I have to say. Q: Tell me what do you think is your sexiest quality? A: Uh… I think my sexiest quality would have to be my intelligence. I’m very intelligent. Q: Did you like to please your father when you were young? A: When I was young my father was never around…but I had a stepfather that I liked to please. Q. Did your stepfather control you a lot? A: Uh…when I was young my stepfather was always trying to tell me what to do…and basically tried to run my life. Q: Did your stepfather look at you different when you grew breasts? A: He started…well…follow me around the house always looking at me strangely…just, always starring at me. Q: Did you ever tease your stepfather, when you know he was watching you? A: Um…when I know my stepfather was watching I was always trying to tease him by walking around the house in a man’s shirt with nothing underneath. Q: What would your stepfather think if he saw you being banged in a porno film? A: He would definitely be turned on by it. Q: How do you fell about that? A: Um… I strangely get turned on myself thinking about how my stepfather would get turned on by watching me in a porno. Q: Do you think you’re able to get back at men by using sex? A: I think I’m able to get back at men by using sex, because I use them as my toys I get what I want from them. Q: Do you feel that you can fool men easily? A: I feel I can fool men easily by just batting my eyes and tell them what they want to hear. Q: Are you a liar sometimes? A: Men, give me what I want if I tell them what they want to do. Q: Do you think I would know if you where lying? A: Um… I think, I definitely think that you would know if I was lying. Q: What kind of man do you find frightening? A: Um… I think the kind of man I found frightening is the shy type of man… Maybe a submissive type of man that would like to be dominated by me. Q: In the future tell me what do you think your children would think of what you’re doing? A: in the future I think, my children would look up to what I’m doing. cause I’ll make well known, I’ll always tell them cause I’m not ashamed of what I’m doing. Q: Do you like to be called a whore when you fuck? A: When I fuck I would like to be called a whore, I like to be talked dirty to because it’s a sort of role play, I like to get into it. Q: Do you see and maybe describe the difference to you, between a whore and being in porno films? A: Um… I think the difference between being a whore and being in porno films is that a whore is someone who…sleeps around and has no respect for herself, you know…or her body…but being a porn star you have total respect for your body and…it’s just totally different…and to me being a porn star is way better then being a whore. Q: Would your stepfather think that you ought to be spanked. A: Um… I think my stepfather would definitely think that I’d need to be spanked for making movies, and he would definitely enjoy it as well as I. Lyndy Abraham – A Dictionary of Alchemical Imagery: Hermaphrodite - In the production of the stone the alchemist must join sulphur, the hot, dry, active male aspect of the prima materia, to the cold, moist, receptive female aspect, argent vive or mercury. The union of these two metallic seeds is presented as the copulation of two lovers, and later, at a higher level of union, the chemical wedding of Sol and Luna, sun and moon, king and queen. This complete, undivided unity, known as the rebis or hermaphrodite, is the perfect integration of male and female energies
