Graphic scenes from provocative show “Sancta” trigger severe nausea among attendees in Stuttgart
Eighteen audience members at Stuttgart’s state opera required medical attention after watching a highly controversial performance of Sancta, a piece involving graphic nudity, unsimulated sexual acts, and the use of blood, both real and fake. The unsettling incidents occurred over two showings this past weekend, prompting medical professionals to intervene in three cases.
Sebastian Ebling, spokesperson for Stuttgart’s state opera, confirmed the situation, stating, “On Saturday we had eight and on Sunday we had ten people who had to be looked after by our visitor service.” The affected attendees were treated for symptoms including nausea, with some requiring more immediate medical care.
Florentina Holzinger’s provocative vision
The opera, Sancta, is the brainchild of Austrian choreographer Florentina Holzinger, 38, known for her boundary-pushing, shock-laden performances. Holzinger’s work is renowned for incorporating extreme elements, such as live piercing and nudity, combined with theatrical elements that challenge traditional conventions. Her all-female ensemble often performs partially or fully naked, engaging in acts that include sword-swallowing and tattooing, as well as the use of body fluids in performance art.
In an interview, Holzinger explained her unorthodox approach to dance: “Good technique in dance to me is not just someone who can do a perfect tendu, but also someone who can urinate on cue.”
A controversial adaptation of a historic opera
Holzinger’s Sancta is a modern reimagining of Paul Hindemith’s controversial 1921 opera Sancta Susanna, a story about a young nun’s sacrilegious actions driven by her sexual arousal. Holzinger’s version amplifies these themes by incorporating shocking elements such as naked nuns roller-skating on a half-pipe, and a provocative depiction of a lesbian priest presiding over a mass with crucified naked bodies as the backdrop.
The performance, which debuted in May at the Mecklenburg State Theatre, drew sharp criticism from religious authorities. Bishops from Salzburg and Innsbruck condemned the piece, describing it as a “disrespectful caricature of the holy mass.” Holzinger, however, defended her work, saying it explores the relationship between conservative institutions and kink communities rather than mocking religious traditions.
Audience warned of graphic content
Ahead of the performances, attendees were urged to review warnings detailing the intense nature of the show, including incense, loud noises, explicit sexual content, and depictions of violence. Ebling advised those planning to attend to “speak to the visitor service” if they had concerns and to “avert your gaze” during uncomfortable scenes.
Despite the graphic nature of the performance and the distress caused to some, Sancta has continued to thrive commercially. All five remaining performances in Stuttgart, as well as two scheduled shows at Berlin’s Volksbühne in November, are sold out. Holzinger’s bold and controversial work continues to ignite debates about the role of shock and provocation in art, pushing the boundaries of what is considered acceptable in the world of modern opera.
