The expatriate Hungarian group know as Squat Theatre moved to New York in 1977. In their work they blur the distinction between art and life. They live and perform in the same space - a building with a storefront window looking onto a busy street. Those who pass outside become part of the performance for those inside and vica versa. Although members of the company sometimes wear bizarre costmes, they perform actions as themselves rather than as characters. And they take risks which have potential consequences on their lives.
image 33 (on the right): scene from Pig, Child, Fire (1977) - Act I. Stavrogin's Confession - on the photo: Galus Halasz (child), Anna Koos (woman), Peter Berg (Stavrogin)
Pig, Child, Fire! takes its name from three elements the group intended to use in the performance. In the first section a twice life size figure of a man hangs upside down with the normal-size head of a real man protruding from his anus. A woman takes from inside her own dress a pair of plastic woman's breast which she ties around the chest of the child. There is no dialogue, but a taped voice is heard reading Stavrogin's confession from Dostojevski's The Devils.
image 34 (on the left): scene from Andy Warhol's Last Love (1978) - on the photo: Stephan Balint (as Andy Warhol), Kathleen, the witch (Kathlee Kendel, as herself), Eszter Balint (Ulrike Meinhof), Peter Berg (Man from the Street)
As in their other work, Andy Warhol's Last Love intertwines life and illusion. A man who claims to be Andy Warhol and looks like him (because he wears a life like mask) interviews (by means of a taped voice) a woman who claims to be awitch and really believes she is. The witch answers extemporaneously the questions pu to her by the taped voice. Fropm among the spectators seen outside though the window, another woman enters who claims to be Ulrike Meinhof. Then a man, who has been drinking throughout the performance, also enters from the street. The audience does not know if he is a real spectator or a performer.