Poste Restante

Country: Sweden

Biography

Linn Hilda Lamberg and Stefan Åkesson founded and have run the performance company Poste Restante since 2007.

Together they have continuously explored performance and theatre as a relational art form. They have written and directed, among others, The Economy of Pleasure (2012), The Apocalypse (2015), The Leviathan Camaraderie (2015), General Public (2023), and Wuthering, Wuthering Heights (2025).

Linn Hilda Lamberg holds a PhD in performing arts, awarded in March 2026 at the Stockholm University of the Arts.

Stefan Åkesson was the dramaturg of Backa Teater, the children’s and youth stage of Gothenburg City Theatre, from 2009 to 2022, and currently sits on the Swedish Arts Grants Committee for theatre and film.

Wuthering Wuthering

Wuthering, Wuthering Heights is a participatory performance in the form of a fan convention dedicated to Emily Brontë’s classic novel. At a secret location, visitors step into a fictional subculture that has gathered to truly understand — and personally experience — the book’s characters and their emotions.

They are welcomed by devoted members of this community: performers — dressed in leather boots, corsets, and corpse paint — who guide visitors through the convention’s various stations. The novel is retold in one room, 18th-century porridge is cooked in another, and those who dare can join a crash-course in Kate Bush’s iconic choreography. There is costume to borrow and looks to try out. Visitors move freely between stations, they are fed the novel, dressed as befits a fanatic, and left hungry for more, each choice edging them closer to the hard core of the convention.

At the heart of the convention, the « Embodied Readings”: Key chapters from the novel, staged as BDSM-scenarios in which visitors step into the roles of the book’s protagonists while performers act as their antagonists. There is no nudity or sexual contact, though the energy is eroticized and physically charged, in these scored, consensual encounters that visitors shape themselves.

In Wuthering, Wuthering Heights, visitors step into Cathy’s and Heathcliff’s tempest of outbursts and wounded feelings. It is a tragic, sexy, intersectional horror, in which the embodied readings let visitors explore which societal power relations live inside their own bodies. The BDSM-inspired rigor around consent gives visitors what Cathy and Heathcliff never had: a say in how far to go, a possibility to call a stop — and one last chance to roam the Moor, together.