The play is created in a postmodernistic, “barbarian” aesthetic, referencing the controversial tendency of contemporary theater (postdrama). Artists of postdrama, a notion long established in the West and pioneered by figures such as Heiner Müller, Werner Schwab, Elfriede Jelinek, are referred to as “murderers of sanctity” or simply “barbarians”. It is a theater of risk, a game with the audience and oneself. Combining various conventions and fearlessly crossing the boundaries between acting, dance, music and visual arts, it bravely – albeit unacceptably for some – addresses the greatest problems of contemporary humans and the world around them.
“Not-from-here”, generally speaking, explores the topic of intolerance in its various aspects: cultural, religious, and sexual.
The play is set in an abstract space, referred to by the author as Bastille Square. It features black walls, a platform, a massive wooden table with chairs beside it, and a black lamp above each chair, with a switched-on fan hanging over the table. A little girl dressed in a Polish scout uniform enters the stage and begins singing the Iraqi national anthem. After three minutes, the actors take the stage – three women and three men, all dressed in black, accompanied by a classically dressed clown. They all sit down at the table, unroll the scripts, drink something, talk, laugh – creating a purely private situation.
The lights go out. From this point on, spotlights focus only on the individuals participating in the scene.
The leitmotiv in the play is the scene of the clown entering a store to hang a poster advertising circus performances, but each time he encounters a member of a different nation: an Arab, an Indian, and a Jew. Their responses vary, but in each reaction, there is space for mutual prejudice, intolerance, and an element of hostile alienation. All of this is portrayed through short dialogues, and with the author’s distinctive distanced humor that may not be immediately grasped.
The text is characterized by a high degree of conventionality, deconstruction of both the plot and even individual subplots, mixing of various elements, eclecticism, a substantial dose of provocation, including a drastically depicted scene of absurd and purposeless violence. The author references various cultural and religious associations; there is even a crucified Christ speaking English, as well as the Marquis de Sade announcing the revolution.
A controversial play, at times very much so. It requires a director with a formal vision (scenes of cruelty!) and naturally, a sense of rhythm that can be translated into images.
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