The performance is inspired by Japanese theatre - the popular all-female revue – Takarazuka. The specificity and originality of the theatre, in which all roles, both male and female, are played by women, became a starting point for considering the theatricality of gender, the construction of cultural gender and the stereotypical perception of gender by society. Candidates for Takarazuka actresses prepare for two years in a special school to play male roles and female roles. For Takarazuka Theatre seems to perfectly confirm Simone de Beauvoir's thesis: 'we are not born women - we become them'.
The “camp” evoked in the performance has lost its original aestheticising function, becoming a representation of a regression in the discussion on social roles, on femininity or masculinity. The power of women, forced to fight for basic rights, has become a sad symbol of Poland in the second decade of the 21st century.
Eryk Makohon - founder, director and choreographer of the Krakow Dance Theatre. Regular teacher at the Ludwik Solski State Theatre School in Krakow. He is the author of more than thirty performances, educational projects and numerous artistic events.
From 2003-2005 he was a dancer at one of the first Polish professional and institutional contemporary dance theatres, Silesian Dance Theatre. As a dancer, he has participated in choreographies by Jacek Łumiński, Sylwia Hefczyńska-Lewandowska, Hilke Diemer, Jay Hirabayashi and Barbara Bourget, Ole Meland, W&M Physical Theatre, Henrik Kaalund, Anna Konjetzky, Ayrin Ersoz, which have been presented in India, USA, Canada, Portugal, Germany, Austria, Lithuania, Norway, Italy and many other places.
As a teacher and choreographer, he has collaborated with the KTO Theatre on a long term basis, creating stage choreography for Quixotage, The Blind Men, Peregrinus, Chorus of Orphans, which have been presented at dance festivals around the world.
As a choreographer at the Krakow Dance Theatre, he consistently builds the theatre's distinctive aesthetic based on the architecture of the body and the plasticity of the image. He often refers to concepts that have grown out of the theatrical tradition. He cites Grotowski, Stanisławski and Barba, applying their theories to dance, and invokes the concepts of body-mind, score and sub-score, organicism, extended mind and body. In his work, he uses Polish dance techniques based on Polish folklore (Tatra Mountains - Podhale, Kurps region, Polish Hasidic).