Mockumentary of a Contemporary Saviour
Science fiction is not predictive. It is descriptive.
I talk about the gods, I am an atheist. But I am an artist too, and therefore a liar.
Distrust everything I say. I am telling the truth.
Introduction in The Left Hand of Darkness by Ursula K. Le Guin
We are in the distant future. A turning point in the history of mankind has been reached. A
devastating force is engaged in utterly destroying all life on earth. With the aid of a child, a few
people have nonetheless succeeded in reaching a place of safety. But life in this safe room is far from easy. The survivors, being human, are constantly at odds with one another. On top of all this is the fact that the chosen ones cannot escape life. Immortality prevails, and suicide doesn’t offer any way out.
The ambiguous relationship with the child in the outside world, internal conflicts, cultural
differences and the urges and instincts characteristic of humanity make it a time of
uninterrupted commotion. The desire to surrender to the all-destroying forces of the outside
world is always lurking. Is mankind actually worth saving?
In the theatre and dance performance Mockumentary of a Contemporary Saviour, Wim Vandekeybus, through the medium of seven characters, presents an incisive portrait of a messiah as an imaginary figure. Utopia and dystopia at a single glance. Nothing is what it seems in this futuristic reality.