The new performance by the award-winning company Nova Melancholia, Notes on Camp, offers a theoretical and performative exploration of the aesthetic concept of “Camp,” drawing inspiration from the milestone essay “Notes on Camp” (1964) by American author, theorist, and activist Susan Sontag  (1933-2004).

To what extent has the Camp aesthetic, once the hallmark of gay subculture in the Western world, now been expanded in its meaning, goals, and scope of use? Has Camp perhaps been absorbed by mass culture? Has it lost its initial dynamism, or has it remained a “challenge” to urban taste and the system’s set of values? What can be described as Camp today? The performance is an enchanting, multisensory, and exuberant spectacle in which lights, music, and actors dispel the weariness of the present, giving the floor to diversity, unconventionality, and subversion.