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The Technologies of MEAT
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Following the 2012 capture of Luka Magnotta in Berlin, Thomas Bo Nilsson started to conceptualise his first major solo dramatic installation entitled MEAT. MEAT featured in the 2014 edition Berlin theatre festival Festival of International New Drama hosted by Schaubühne. The piece itself lasted 240 hours long with over 60 actors improvising in a multiple languages in an interactive environment, where audience members enter into the miniature version of Berlin’s queer scene. Out of this complex organism that Bo Nilsson conceptualised and manifested with his partner Julian Eicke, questions about how Magnotta fits into this dramatic installation. A crucial part of the success of Bo Nilsson’s installation is the actors’ use of technology during the performance.
Compared to Donna Haraway’s ideation on cyborgs in her book Simians, Cyborgs, and Women, it becomes apparent that Bo Nilsson’s dramatic installation outlines and demonstrates the irony of “man’s dream” to dominate the world via technology. My thesis seeks to analyse how technology is used to transcend the human experience, but as Bo Nilsson’s installation proves through the technologies of place, social media, and cameras, technology does not provide an avenue to the post-human rather merely the reconfiguration of the human body and human habits. The set and actors in MEAT in many ways act as a mirror for the audience to gaze upon their own reconfigured bodies and reveal that the irony of “man’s dream” is that although these technologies change the physical ways people interact with the world, only the “meat” of their bodies is changed, and Dasein remains the same.
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- Date created
- 2018-07-01
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- Type of Item
- Research Material