“Feminism is still, in most circles, seen as radical… What you’re really saying is, misogyny is equatable with normativity.”
– Rachel Perks
And the fourth season of Audio Stage continues with the question: queer? What is queer? What is not queer? How does queer exist in performance? How does queer performance exist in the world? What is its political power, and what its aesthetic urgency?
In the second episode of the season, Jana and Beth talk to Rachel Perks, Melbourne-based performance-maker who has, in only a few years, created a whole series of acclaimed shows that explore a woman’s experience of this world: ANGRY SEXX, We Get It (with Elbow Room), and now Ground Control.
As we speak – from the comfort of Jana’s bed – Rachel has only just closed Ground Control, a courageous new work developed for Next Wave 2016, and there is an exhaustion and exhilaration, a tiredness and hopefulness, as we talk about love, about being female, about cyborgs and myths, and about how sometimes love is a duty.
Trigger warning: This episode contains mention of sexual assault and our experiences with it.
“In Australia, we feel that emotions are a totally invalid place to speak from, invalid in general. They are also associated with femininity, feminised.”