(I) This marked the birth of Ontroerend Goed as a theatre company. Alexander and Joeri invented two nutty characters, Frank and Dirk, ânightclub artists from New Yorkâ, who spiced up the presentation of OGâs new poetry bundle Back To The Attic with spanking sessions, raw imagery of Hitler/Jesus, American Psycho, harp-playing angels and a preposterous Miss Anal-election among the audience. PORROR, short for Porn, Horror and Poetry, was an instant underground-success. The boundaries between stage and spectators became slightly blurred. It was even rumored that audience members got a beating during the show.
(II)Â The female version of Porror 1. Ontroerend Goed went into a collaboration with The Wentelteefjes, four rowdy actresses with a penchant for burlesque and pre-war cabaret. Porror 2 was a sparkling, musical revue with a kinky touch. A Japanese girl sang â(R)ape meâ in a dildo-microphone, , a fortune-teller read the future in an anus, a game of Russian roulette mounted the suspense and the audience bid up to 50 euro for a worn pair of knickers. Dirk served as the pianist and the âgimpâ of the four frightful ladies, who at times also gave Alexander nightmares as a young director.
(III) Absurdist theatre and performance took it over from cabaret and sideshow in the third part of the Trilogy. In the middle of the Iraq War turmoil, slick manipulator Dirk presented a highly nonsensical series of scenes involving three flawed American clichĂ©-characters: an ageing cheerleader, a black woman with anger management issues and a retarded cowboy who dreamt of being a country singer. The show offered a comment on theatre as a place of relentless attention-seeking, degrading into distasteful and embarrassing images . There was a memorable fight between a carrot and a leek over whoâs the funniest and a breathtaking molestation of a lesbian disabled black girl, not for the faint-hearted.