Lamento (2022)

Four archetypes of Greek mythology (Medea, Helena, Cassandra and Medusa), who were deprived of their voices in different ways, are translated into the present day: a politician, an actor, a mother and a researcher hold a feminist monologue each on a feminist monologue on topics such as intersectional feminism, gender and racial bias in AI research, the role of the mother in society and the role of the actor as an emancipated artist equal to the director. The monologues are fed by fragments of current speeches, lectures and interviews of women* living today. The four figures are each positioned in a separate room on a revolving stage, which, due to the constant rotation, cuts them off again and again and limits their time. Performatively and on a textual level they break the stereotypes with which their roles and, consequently, their voices, are connected, and thus try to make themselves heard in a censoring, isolating and disciplining stage space. In the understage, three figures wearing animal masks recount fragments of Greek mythology, each of which refers to the figures of the archetypes - of Cassandra, Medea, Medusa and Helen. The figures of the understage are inspired by the ancient figures of Io, Callisto and Philomena, who were robbed of their voices in the myth by being transformed into animals. In the film they get their voices back as a kind of an ancient chorus commenting on the action.