Column | A red head and trembling muscles with acrobatic routines – is that meant?

The good thing about art is that you can see what you want, but I still catch myself wondering if I am in the right place. It happens to me at the show Dear Frail Male from Just van Bommel. Impressive theater: Van Bommel acts, I read autobiographical, monologue on street intimidation. He walked in a dress, a couple of boy men held him standing and threatened him. That dress plays no role, the piece questions the perpetrators. What is their aggression every year? How do you become a 12-year-old bullying ratfaceWhat is the advantage of being a homophobic bullbak in lorrige training pants?

And the target? That never gets solid ground under his feet. While Van Bommel tells his story, two colleagues juggle him. They maneuver him on their lap, their hull, back, shoulders, neck. They lift him up, lower him. They monitor his balance, read in a review, and: they support him in endearing.

Those acrobatic routines are the basis of the performance, but I notice that the suggestion of weightlessness belongs to acrobatics is missing. I see a red head. Vibrating muscles. A nodding knee. The subjects are visibly heavily under the weight of Van Bommel.

Is that intended? Is it part of it? Or is it because I am in the second row, where I accidentally see what is not standing out from row three, and deeper the room is invisible? In other words, am I wrong? But wait a minute, art is not a mystery. A correct solution does not exist.

Anyway, because of that red head and trembling legs under him I understand from Bommels character as someone on top of his trembling emotions. They tilt him in all directions and he keeps them under control. With which I feel how someone who is ‘different’ can only save himself by controlling. He wants to be a pounding, he wants to shout: I can handle you, because “I work out !!“. Don’t, don’t give them any reason, don’t make it worse, let yourself be humiliated.

It may also be that I stand out that red head because I just Queer saw. That film also tells the unspeakable, not with acrobatic routines, but by using dance for the feeling of entanglement of the main character (an unparalleled Daniel Craig who shaken his James Bond past here as a wet dog) with a boy who He has and does not have it. And how I go to Dear Frail Male Look, it may also have been influenced by the exhibition of Beatriz González, in the Pont in Tilburg. Under my eyes her paintings turned into mental views to get lost. Getting lost opens the gate for unexpected thoughts.

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