The She-Wolf folktale (Wratislaw, 1890) tells the story of a liminal creature, able to remove her wolf-skin and take on a human shape. She has the power and potency to move freely between worlds and beyond borders. One day, however, she’s deprived of her skin by a soldier, loses her integrity and ability to transform and thus is doomed to incompleteness, foreignness, otherness and longing, trapped somewhere between the subject and object, her body and the image, “the I” and “the Other.”  

In what ways can a performer re-engage with their own skin and re-imagine other skins—those of the marginalized, the dispossessed, the pushed-back? What kinds of effects can such exposure(s) produce on performer, viewer and our collective capacity to imagine alternative ways of being that resist the normalization of crisis? Who is the She-Wolf? Who is the soldier? What and where is the skin she’s been deprived of?