How annoyances about a doorbell camera at Nathalie Baartman are connected to the world suffering

For Nathalie Baartman (51) there is little to happen, she wants to be annoyed. For example, she has a fellow villager with a doorbell camera, part of an existence where another fellow villager (Pieter Omtzigt) « can lick his fingers. » A ridiculous idea, says Baartman in Deer. Could she see herself outdoors that there was an unwanted visit in front of her door? She would never dare to return home for fear that the unwanted visitor would report again at a later time.

Baartman shows himself as someone for whom chaos, a lack of control and clumsiness are a way of life. She can’t do anything else, so small practical things often yield big tumult. In enormous haste because of an almost departing train to Switzerland, she quickly grabs a leek away from home. Because yes, of course she did not think of it on time to arrange more common food for on the road.

The anecdote about the chaotic course of a mother-daughter trip to Switzerland is the loose bow with which Baartman binds her stories. This is sometimes a nice story, such as when Baartman explains why, in contrast to her daughter, she would rather not get into a canoe (there appears to be a « second-generation-kanotrauma ») but wants to go to a jodel course. Puberty and dangers of social media are ogling for her 12-year-old daughter, so « this is the moment to teach her some older communication techniques at the last minute. »

Thick

Less successful is that Baartman tells extensively about her little exciting adventures during the train journey: something with reservation costs, an occupied seat place, a strict conductris. Baartman likes to use a style agent in which she just about to splash herself apart from annoyance. However, the well -known train problems are not compelling or surprising enough for that. Also not in Baartman’s narrative style.

This expressive style full of thickly set facial and cries of surprise comes into its own when Baartman takes you to a more stimulating part of her life or experience. For example, she finds a woman who wants to know if she sometimes wants to look like an inverted leek with her outfit. Baartman then comes with a comic sentence such as: « Every similarity between me and a reverse leek is based on mere coincidence. »

There is also a nice story behind the artwork on stage. Intended as a visual reference to the performance title, but instead of a deer, the fellow villager who specialized in making rodents of corten steel with an gait pig came up. Baartman fantasizes funny about the earth pig, which appears to have a characteristic that would make him a very suitable national driver.

They find those who are now in office unsuitable. Baartman’s cubes of political annoyances are usually uninteresting and rather forced outputs in themselves Deer. The final song is beautiful, in which she sings a protest song on lamentate accordion sounds about different suffering that ‘deert’ her.

From Baartman’s ninth performance it speaks that the total powerlessness and frustration that you can feel about hardly any controllable worldwle, often finds its way to suffering from a more manageable order. Annoyances about the definition of a walk -in shower and the nonsense of ‘smart’ refrigerators and doorbell cameras can therefore almost let a person explode with irritation.

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