The Maurice Ravel anniversary year 2025 is over, but the orgiastically soaring Boléro by the French pioneer of modernism still resounds regularly: for instance at the world premiere of Stripping Bolero at the Hamburg production house Kampnagel, as an explicitly legible erotic sign. The postmodern approach of the Hamburg-Munich choreographer duo Carolin Jüngst and Lisa Rykena is known to primarily use such signs as deconstruction—on the other hand, the duo, via the detour of camp, has a sense of the appeal a somewhat turgid sensuality can have.
A hand reaches for the zipper, hesitation, a gentle smile, a shake of the head, the hand slides back. Rykena/Jüngst are indeed working quite overtly with the mechanisms of striptease in the sense of playing with the expectations of the audience. Stri ...
