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Contemporary
Austrian dramatist Felix Mitterer (born in Austria in 1948), in his
cycle of seven one act plays focuses on the various types of
alienation exposed through the web of family relationships
thematically connected by the motif of the seven deadly sins.
While treating the subject of the seven deadly sins, Mitterer distances himself from the expected catechism
morality and other strongly established systems of metaphysical
responsibility, treating sin as a “non solidarity behavior towards
fellowmen and society.”
This modern morality play finds its theatrical code in the trashcans
of pop culture, where the space that belonged to religion is
replaced by illusions made up by the entertainment industry’s most
trivial modes. By
placing his one act plays into the ironic context of TV talk shows
Mitterer crudely deprives us, together with his characters, of the
possibility for emotional catharsis and at the end cynically
concludes: “family – the basic cell of the state has become the
factory of spiritual illness.”
With the direction of this text as his graduation project, a young
Split student from the Academy of Dramatic Arts, Ivan Plazibat will
make his debut.
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Suvremeni
austrijski dramatičar Felix Mitterer (1948), problematizira
varijacije otuđenja u mreži obiteljskih odnosa kroz tematsku
poveznicu sedam smrtnih grijeha. Mitterer se odvaja od očekivane
moralnosti katekizma i čvrsto ustrojenih sistema metafizičke
odgovornosti, promatrajući
grijeh kao "nesolidarno ponašanje spram sučovjeka i društva".
Ovaj moderni moralitet svoj kazališni kod pronalazi na smetištima
pop kulture, gdje prostor religije zamjenjuju iluzije industrije
zabave u svojim najbanalnijim oblicima. Dajući svojim jednočinkama
ironizirajući okvir TV talk-showa,
Mitterer nam bešćutno uskraćuje mogućnost emotivne katarze sa
svojim likovima te na kraju cinično zaključuje": obitelj -
temeljna stanica države postala je tvornica duševne bolesti".
Postavljanjem
ovog teksta kao svog diplomskog rada iz režije debitira
splitski student ADU Ivan
Plazibat.
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