Simona Semenič    

we, the european corpses

Year of writing: 2015
A play inspired by the production of Dušan Jovanović’s Victims of the Bang-Bang Fashion and the poetry of Srečko Kosovel.
Total cast size: 11

+ plumbers, male figures

class and cultural criticism of the society, nihilism, cynicism

The play represents the current state of crisis in Europe, where poverty and environmental problems are on the rise, where respect for anything or anyone different no longer exists and politics offers no answers for these issues. The play speaks also of the power and powerlessness of the individual, it questions the point of so-called activism or agency in theatre. Furthermore, it debates the point of such agency in a system where critique is not forbidden, quite the opposite, it is perceived as a vital part of the art market. In moments of crisis this niche grows in size and importance and it is becoming increasingly clearer that instead of offering an opportunity for change, it actually enables the status quo to continue.

she'd tell us that the slovenian sailor went before her to the slovenian village on a hilltop, small, pretty, sunlit, to prepare everything for her arrival

she’d tell us how she went after him, hugely pregnant, that she travelled almost two days, that for the first time in her life she left her home town and set for the unknown, alone, and that she arrived into one of the towns under these hills, pretty, sunlit, he was to wait for her there, but he didn’t come,

then she'd tell us how she put her suitcase with all she possessed on her shoulders and went onto that hill, pretty, sunlit, she was walking, with her huge belly up that hill, pretty, sunlit, to her husband the slovenian soldier

if she could get a word in edgeways, of course

but milica the partisan will never again

never again get a word in edgeways

Barbara Skubic

we, the european corpses

Language of translation: English

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