Lisbeth Gruwez - We’re Pretty Fuckin’ Far from Okay

The instinct of fear, as a genetic human response to ensure survival, is Lisbeth Gruwez’s starting point for this duo, which is the third part in a triptych on the ecstatic body, after AH/HA, a group piece on the power of laughter and It’s going to get worse and worse, my friend, the portrait of an ultra-conservative American preacher, in which words become weapons. Fear accelerates breathing and heart-rate, it causes one to sweat and tremble; to make a decision whether to fight, flee or freeze. Like the emotional and gestural chaos caused by the terrifying attack of The Birds in Hitchcock’s film. Before the darkness of an unknown future, every reaction is rash and drastic, like in a panic attack. The dynamics of breathing, the raw material for the soundscape of the sarcastic We’re pretty fuckin’... far from okay, enhanced by the movement of our vital bellows as they contract and dilate in a state of tension, affect the atmosphere and the audience, balanced between suspense and contemplative composure.