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Eugénie Rebetez shows the alienating contrast of a woman who wants to be more and is also at peace with who she is

Eugénie Rebetez in 'Gina'. Photo: Augustin Rebetez.

Her full thighs clatter together. She shakes her bare arms, grinning at the trembling skin on her upper arms. She stomps furiously across the Theatre Kikker's playing floor, while her hefty body - dressed in a small, nondiscreet black dress - emphatically bounces happily on all sides. You just have to dare. In h...

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Daniel Bertina

/// Freelance cultural journalist, critic, writer and dramatist. Omnivore with a love of art, culture & media in all unfathomable gradations between obscure underground and wildly commercial mainstream. Also works for Het Parool and VPRO. And trains Brazilian Jiu Jitsu.View Author posts

Eugénie Rebetez in 'Gina'. Photo: Augustin Rebetez.

Her full thighs clatter together. She shakes her bare arms, grinning at the trembling skin on her upper arms. She stomps furiously across the Theatre Kikker's playing floor, while her hefty body - dressed in a small, nondiscreet black dress - emphatically bounces happily on all sides. You just have to dare. In h...

You can now log in to continue reading!

Welcome to the Culture Press archive! As a member, you have access to all, over 4,000 posts we have made since our inception in 2009!

(Recent posts (under three months old) are available for all to read, thanks to our members!)

Become a member, or log in below:

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