SWEET POISONS OF THE MARKET AND HUMAN
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SWEET POISONS OF THE MARKET AND MAN ‘A job with a fixed salary in times of market hardening!’ ‘An adequate salary pre-calculated at a minimum’ ‘It is my dedication to this work that sets me free.’ The above words are from the play Erwin Motor, staged in Basel, Switzerland on 18 May 2024 by Theatre İmge of BEKSAV. At various stages of life, labourers are often confronted with these and similar words out of it. They are the result of the dominant ideology of the insatiable capitalist greed for profit. are reflected in the labourers. In reality, even if he works at the highest productivity, he spends his life for the boss. Even if it consumes, the most important principle of imperial capitalism is that ‘everything is permissible for maximum profit.’ This is the meaning of the free market economy. First of all, the theatre group is given a modest hall with no stage lighting. and that this inevitably detracts from the atmosphere of the play. Quality theatre There is a great need for events. Fellow artists who work in this direction deserve better opportunities. They do. Nevertheless, there were 50 people who were able to come, even though there were time conflicts with other events. around the theatre, people watched a good play, which was woven with a beautiful labour. In the pleasant conversation after the play, the interest of the audience showed that the theatre brings new people once again showed how important it is in the struggle for culture. The play has an effect on people The feelings and thoughts inspired by the play were expressed, and there was even plenty of material for the Turkish adaptation of the play. was emphasised. There was a simple decor on the stage: On the left, a work tape and stacked boxes; in the centre, a bookcase without books with work files, small machine parts, plaques and a chair. symbolised office; on the right, the house, consisting of a washing rack with hanging children's clothes and a chair a small shopkeeper's environment consisting of the same chairs and tops on the floor. It was simple but functional. It would have been even more effective with a stage light. Four characters: a female labourer and her tradesman husband, a manager and a female boss, two actors successfully played the role alternately. In a few scenes, the actors' eyes were endearing signs of visceral revitalisation. The play is based on what happens in a company called Erwin Motor, where ‘everything is done for maximum profit’. the inhumane nature of capitalist business, which operates on the imperialist principle, the family, the environment The reflections on their relationships are clearly and harshly exposed. A female worker who is having problems in her marriage is subjected to bourgeois lies and encouragement by the factory manager. and his distortions. If he's a dedicated and efficient worker, he'll overcome his problems. he thinks he's coming. A little more aware of exploitation, with a small mechanic's shop. The patriarchal behaviour of her husband also makes it easier for her to fall into the trap. The tragedy is embodied by the extraordinary labour of the actors. In the one-act play lasting 1 hour and 15 minutes, worker-boss, petty-bourgeoisie-bourgeoisie contradictions, the inhuman character of capitalist production, the additional burden of being a woman in the family and at work. Many issues such as problems, prejudices, inadequacies, etc. are addressed with short, hard brushstrokes. In addition to dialogues, monologues, thinking aloud or repeated refrains of the dominant discourse is remarkable. The woman in search of a humane life clings to her work in an almost intuitive way, but this will bring him a greater alienation, a need to question life from a different perspective will hear it. We cannot speak clearly about the need. Because at the end of the play, the woman worker's ideological From the trap of delusion, we see that they have reached a consciousness of opposition limited to quitting their jobs. However We don't see a clue or a beginning in the previous scenes about how this happened. I think this should be conveyed to the director and the director as a deficiency. Also, during the play, a mother We saw him hurrying out with his two 10-year-old children. The French writer's own cultural A scene that is considered ‘normal’ in its texture may draw reactions in different cultures. A similar situation also applies to the abundant use of sexist swear words. From the actors' speech and postures In our opinion, the obvious ‘harassment’ could have been shown differently and gestures could have been limited. Perhaps the defence of ‘provoking the audience’ can be raised for the abundant use of sexist swear words, but harassment In my opinion, this provocation effort for the stage may also damage the connection the play establishes with the audience. (In fact, the warning of 16 years and over on the play poster was ignored by the audience. situation). In general, we watched an effective play with a ‘critical realist’ artistic attitude. Capitalist The exposure of the system's attack on human values was the main backbone of the play, and this was very valuable, was inspiring. On the other hand, some interpretations of ‘socialist realist’, ‘women's ‘woven with images of the struggle for freedom’, ‘victim of her husband's greed’, etc. I have to say that I find it exaggerated. Throughout the play, there is no mention of the women's liberation struggle. the image is not a trade union or collective attitude towards the working class struggle, but around individuals developing events are seen. Being aware of class reality is not enough to be a socialist. While the play criticises the system and patriarchy through four symbolic characters the lack of a collective glimmer of hope, a clue, or an image that could offer a solution. makes you feel. The play was written by French writer Magali Mougel in 2012, Reyhan Özdilek translated into Turkish and published by Cenk Dost Verdi (Habitus Kitap 2023). By Cenk Dost Verdi Adapted for Theatre Imge, the play was previously performed in France, Germany and then in Switzerland. met with the audience in cities. After last performing in Sweden, the band performed in Turkey. will continue to perform. İGİF, AVEG-KON and Prisoners' Voice We wish the Platform to continue such good endeavours. Ahmet Uçar and Ayşe Nur Demir for their successful, sincere acting and technical support I would like to thank Ahmet Bozada and all those who contributed to the theatre art and the conscience and hearts of people. for being able to touch us. Long live the new human, revolutionary cultural struggle... Süleyman Kuş 24 May 2024, Bern
