Καλώς Ήλθατε
στο ιστολόγιο
της
"ηθικόν ακμαιότατον"
«Κουαρτέτο» του Χάινερ Μύλλερ στο Από Μηχανής Θέατρο
The dog, the night and the knife (2009)
The Dog, the Night and the Knife
Direction: Thanassis Sarantos
Apo Michanis (Ex Machina) Theatre
Contributors
Translation: George Depastas
Direction: Thanassis Sarantos
Settings: Lina Motsiou
Costumes: Despoina Makarouni
Lighting design: Lefteris Pavlopoulos
Sound design: Nikos Patrelakis
Actors: Vasilis Boulougouris, Maria Panouria, Kostas Vasardanis
On a hot August night, M finds himself lost after dinning with his friends. In a cul-de-sac of an unknown, weird street, where nothing seems to move and the time has stopped, he encounters only closed plastic window shutters, sand behind the houses and deserted streets. A man appears out of nowhere, looking for his dog. The Dogman offers to help M, but suddenly an outburst of a mortal strife introduces M to nightmarish wanderings in a weird city where wolves and dogs wander in the outskirts, there is hunger everywhere, everyone M meets looks alike, and all of them share the Dogman’s ‘cannibalistic’ intentions of helping him. In the first scene, M, the main character of the play, says: ‘I want to open my eyes, but they’re already open’: the nightmare has already begun.
Where are we precisely? Somewhere in the Unconsciousness zone? In a metaphysical painting of Giorgio de Chirico? Within surrealist poetry? Or in a kafkaesque Trial? Indeed, the play’s affinity to Kafka’s Trial goes beyond the awkward perfection of the clinical setting, the suffocating atmosphere of non-time, where M’s incomprehensible story takes place. In both stories, the main character sinks into an absurd, senseless world, where he is exposed to a series of facts which transcend him, cancelling all reasonable beliefs. This fluidity is contrasted by the play’s realistic prose and the simultaneous narration of the facts by M himself. This reiteration allows M’s consciousness to undergo a gradual transformation as he experiences the unthinkable and the illusional. While K in the Trial is condemned for a crime he did not commit, M is not condemned for the many crimes he ends up committing: in a much harsher reality, the author merely abandons him to the realisation that even hope lies beyond the boundaries of innocence.
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