Even the tavern speeches can result in genocide



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Over the course of its six years of existence, the Presov National Theater has enjoyed a considerable audience, critics and numerous theater awards. He is also a regular guest of the Touch and Connection Festival.

In Martin this time, the actor Moral Insanity introduced the monodrama Petra BRAJERČÍKAwho has already won the Grand Prix in New Drama / New Drama 2019.

Umberto Eco's Prague Cemetery, on the rise of anti-Semitism in Europe, full of postmodern games with different meanings, became the model of its production. Can such a multifaceted text be concentrated in a stage clock without encyclopedic knowledge?

It's a complicated novel, with many sophisticated details, but we do not want to translate it into a stage in its entirety. It would not be possible and perhaps not appropriate. The book fundamentally changed some attitudes of life.

There are many themes, hate, conspiracy, false news and chauvinism. It is a contemporary work, therefore, contemporary enriching realities with the current context were not necessary.

In principle, the company has not changed much, only thoughts, pamphlets, leaflets or newspapers are no longer spreading for two or three months and with limited reach.

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You are also the author of the script in production. Has the creation of Moral Insanity differed from your theatrical experience so far?

At the Academy of Arts in Banská Bystrica there is an actor's theater, and I recommend everyone to try it. In our case, the monodrama came first as a form and then as a specific topic.

About a year and a half ago, I began to think about where my craft could move. So I approached the monodram analytically to get more skills and acting skills.

I turned to Julia Razusová, to whom she was also the first director of monodrama, so we both learned.

Faith in the written word is a key theme of the novel. But beyond production based on a textual model, there is a distinct visual-acoustic aspect. How did this combination happen?

Already in the reading exams, the director and I released about 70-80% of the final mizanscenes and worked with props like raincoats, shoes, shirt.

Julka is so good that she has already done lots of pre-production and I was able to immediately join her and add her ideas. Therefore, in our conception, the scenery is not very portable, but rather a common interaction and imagination.

The author said he wanted to create the most cynical and offensive hero in the history of literature. Does this also apply to your interpretation?

When I see a greedy man, I say to myself, "The time will come upon you and it will take care of you." I see him as a representative of many ideas and moral insanity, not as an individual character that needs to be explored in depth.

The lack of morality and inferiority is replaced by greed, xenophobia, profit and intolerance. How do we deal with the loss of values ​​in real life?

Someone once said, "If we knew everything about everyone, no one would be mad at anyone." We take something with us. Our character grew up without parents, without patterns, without the ability to take on adulthood.

Therefore, it is a logical consequence that the subsequent revenge, its moral principle, crosses the border and breaks with increasing power.

Moral Insanity shows us how far we can go beyond our borders and even tolerate chauvinistic and intolerant suggestions. If ignored, conversation in pubs can also result in genocide, world war or other catastrophe.

(the interview was prepared by Jakub Molnár, the text was also published as part of the Journal Touch and Connection 2019 Festival)

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