Theater review Theater Jurka’s performance criticizing the spectacular society is funny and self-ironic

The scenes in the performance, written by Raisa Omaheimo and Elina Kilku, address, among other things, the impact of the requirement for continuous growth on work, health and inequality.

Drama

Capitalism – stories about capital, premiere at Theater Jurka 17.10. Text by Raisa Omaheimo and Elina Kilkku. Directed by Elina Kilkku. Set and costume Paula Koivunen. Videos and sound design by Tomi Flyckt, lighting design by Tomi Flyckt and Saku Kaukiainen. In the roles Jenni Kitti and Henna Tanskanen. ★★★

How to make a presentation about capitalism? Raisa Omaheimon and Elina Kilkun latest cooperation Capitalism – stories about capital The theater in Jurka revolves around this issue throughout the performance.

Omaheimo and Kilkku have previously co-written two performances, in 2016 Theater Takomo was performed Fat, a monologue about obesity. In 2018, a documentary on mental disorders was seen at Theater Jurka Interference. Both presentations also examined their topics from the perspective of consumer society and capitalism, productivity.

Kilkku and Omaheimo say that in making the presentations, they noticed that capitalism affects people’s everyday lives in surprising ways. They open up their process of doing Jurka on stage, their doubts and their own sense of inadequacy. The whole performance consists of a dialogue between Kilku and Omaheimo. Marx has not been read and there are no informed answers about a more functioning economic system.

Self-ironic the performance criticizes the spectacle society and the diamond-hard, ready-made performance spectacles. This is quite invigorating and liberating.

Often what is said is not very opening up new perspectives, but the trick of the performance is in how it is said. The control of the wolf can use its theatrical means well.

Actresses, dressed in cabaret-spirited costumes, play great together Jenni Kitti and Henna Tanskanen, lead the viewer through fragments that tell about capitalism and its effects on everyday life. Some of these are personal, some are statements grabbed from the media, or a repetition of price manipulation by the shrinking flowers of capitalism, such as the drug drug by Martin Shkrel of the pharmaceutical company Turing Pharmaseutics. Some of the scenes, on the other hand, are a rather obvious clarification of the difference between capital income and labor income by twisting the wire.

Personal experiences and the opening up of concepts do not quite find balance in the performance. However, even the most fundamental concept, capitalism itself, is ultimately left undefined by the authors, even though the performance seeks to do so throughout its duration.

Among other things, the scenes deal with the impact of the requirement for continuous growth on work, health and inequality.

The depiction of the love affair shown as a video reflection, interpreted in the terms of capitalism and in keeping with the Titanic film, is ridiculous. A chilling is the latter part of the vision of how theater makers in the future become a fashion and shopping centers in throwers.

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