These are supported, or contrasted, by ungraceful choreographies. The lovely girls jump awkwardly,

throwing about their arms and legs, exclaiming sounds like: Huh! Hah! As if by magic they shed their

skin halfway through the performance. After a brief spell behind a temporary wall they return in broad

striped costumes associated with past traditional prison clothing. Questioning the feminine In this way

the duo comment on issues such as identity, gender and femininity. Possibly the performance Tramp

poses underlying questions to stereotypical concepts of femininity through what can superficially seem as

traditional female strategies. Yet, under the performer´s fragile exteriors lies an unsentimental power,

expressed physically through the awkward choreography and texts. By exhibiting themselves they sing

about being `on the road´ and about the desire to kill and coldly turn their backs on a relationship or

friendship. The performance is concurrently fine and raw, fragile and ironic, serious and sarcastic.

As a spectator it is a positive challenge not exactly to know what you are witnessing or what to think.

The performers play with identities and carefully shift traditional indicators of female homosexual

behaviour but without selling out traditional feminine values. The theatrical Furthermore the piece

playfully toys with the concept of art. The audience is kept at a distance, like in a traditional concert,

opposing many contemporary performance art pieces that invite audiences in somewhat sanctimonious

ways to participate. The performance comes across as unpretentious, funny and sensitive, moving

between articulated authenticity in the songs and our experience of the theatrical expression.

Of course Tramp is art, the performers are in a gallery, they change costumes and play with performing

roles. In this way the performance also displays how we play various roles in our lives, how we reinvent

ourselves all the time and renegotiate our identities as we retell our life stories.