LORD OF BEEF
In this performance Misevičiūtė presents a series of impersonations--dance and speech acts depicting objects, people, phenomena, and philosophical concepts. LORD OF BEEF goes back to the primal mimetic act that lies at the very basis of theater and comedy. Enactment and impersonation -- is where theater begins, but also this is the point where theater is accused of its artificiality and inauthenticity. However, maybe the failure of the "realness" of theater is precisely its attempt to depict reality. Maybe the place where dance and language meet each other is the compromise of logic.
In this performance impersonations go beyond the imitation of human qualities to concepts such as radical hospitality, soft knowledge, small face behind you, I don't care about friends I'd like some parents, and there is no stopping this institution. The last impersonation of the show is based on the Butoh tongue dance technique, where the performer's body gradually surrenders to the movement itself, inverting the mechanism of impersonation and thus the theatrical act finds its border with ritual.