Her bawdy operetta both reveals and heightens the cultural voyeurism implicit in the latter. BDSM, Cabaret, Bavarian Folk Art, Techno, Krautrock and Neue Deutsche Harte add grist to the Germanophile mill, inspiration for an experimental live score and a host of extravagant props. Greenan makes explicit the process of heritage commodification by which cultural themes come to be evaluated, primarily in terms of their exchange value. In a play on the German composer’s mythological refabrication, Greenan’s Gesamtkunstwerk is enacted by a pseudo-Wagnerian cult whose deviant practices draw heavily on the Ring-Cycle for legitimation. Flanking their ceremonial ground are a monumental Wagnerian effigy and a replica of Shaw’s rotating writing shed, seemingly animated by the writer’s phantom voice. As narrator and cult-leader Greenan oscillates between these structures, playfully challenging the authority of the two cultural giants. Her ambiguous use of the word ‘Master’ calls into question the shifting focus of authorship in the act of interpretation. This position is further obfuscated by a mock-initiation ceremony in which chosen ‘participants’ become sutured within Greenan’s highly mediated ritual. Showtime 7.30pm, Tickets available at www.fringefest.com
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Funded by Fingal County Council.
An Import Projects commission curated by Anja Henckel and Alice Planel, first presented in Berlin with funding from Culture Ireland and the Irish Embassy of Berlin.