Abigail Child’s short, ELSA merdelamerdelamer, is a smoky, punky and sexy chapter in the collectively made Feminist bio-drama, MamaDada about the Baroness Elsa von Freytag-Loringhoven, avant-garde performance artist, sculptress and poet. The Baroness travelled from Germany to Tennessee, New York to Paris, was lovers with William Carlos Williams and perhaps gave the famous urinal to Duchamp, whom she describes as her “cast-iron lover.” This brief excursion is inspired by an event that was lost in development where Man Ray and Duchamp made a film of the Baroness shaving her public hair.
When a lonely man finds out the love of his life has a conjoined twin, who happens to be a serial killer, he must take drastic measures to keep his love life intact while keeping himself out of big trouble.
Who loves whom in Così fan tutte, Mozart’s and Da Ponte’s cruelly comic reflection on desire, fidelity and betrayal? Or have the confusions to which the main characters subject one another ensured that in spite of the heartfelt love duets and superficially fleetfooted comedy nothing will work any longer and that a sense of emotional erosion has replaced true feelings? Così fan tutte is a timeless work full of questions that affect us all.
A man has only three and a half days and limited resources to discover why he was imprisoned in a nondescript room for 20 years without any explanation.
After her father’s sudden death, Feride takes on the role of the father in the family. Her mother, Nurcan, desperately tries to replace her lost husband with Feride, while her brother, İlker, starts to drift away from the family.
