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ISSN 1409-6900 | UDK 82+7     Blesok no. 19 | volume IV | February-March, 2001



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                     Peer-reviewed journal
Blesok no. 19February-March, 2001
Theatre Reviews

Kole Čašule: Absurdist and/or Antiutopist

(excerpt from the text The Absurd and Anti-utopia in Kole Čašule’s Plays as part of the book "Kole Čašule: Ten Plays")


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Biljana Crvenkovska

    Starting with “A Twig in the Wind”, and from then on, the main preoccupation of Čašule, one could say, is totalitarianism – in all its forms, as well as portraying society – any society – as twisted. In “A Twig in the Wind “, capitalism is a twisted society that throws into despair its members… totalitarianism, on its half, is a part of the relations between them. “Darkness: does not portray anything else but for totalitarianism – totalitarian achievement of even more so totalitarian ideas; “Whirlpool”, “Musical Score for a Myron”; “As you Please…” etc. all to the last one, portray totalitarianism and the “ideal” societies (or the way of constructing such a society).
    The anti-utopia is a portrayal of the twisted in society, the perversion of man, the perversion of existence itself. The anti-utopia is a conclusion – each society, however it may be portrayed of what ever its manifestation, is in its essence totalitarian, ugly, evil and wicked; that each government is monstrous and destructive, and that each human being carries that badness within, veiled, pending on just the right moment to demonstrate it. Precisely this insight is the main vital force in Kole Čašule’s work. It is the axis around which everything else turns. Čašule discovers the perversion of society and creates anti-utopias. In some of them, it can only be sensed – this horrific perversion, that lack of faith of a future, the absurdity, darkness. In the rest of them, it is noticeable in each spoken (written) or unspoken (unwritten) word.
    Several components, all connected, create the complete picture for this anti-utopia:
    – First of all, regardless of the type of society in question, Čašule drags out the twisted in it, perversion, totalitarianism and horror.
    – Everywhere (this is generally true for all anti-utopias), perversion of society is connected with the feeling of absurdity, lack of faith, darkness. Absurd and anti-utopia come together – the first follow the other.
    – Almost in all his plays, and in all anti-utopias (Orwell’s; Zamyatin’s, Huxley’s, Nabokov’s, Kafka’s…), Čašule writes about the Ultimate Government, about The Big Brother, about some Shadow ruling in the background; there is always someone behind someone, behind someone, behind someone… maybe this goes on to infinity, and no one is ever introduced to the last one.
    – Same as in all other anti-utopias, Čašule’s anti-utopia reveals, beside the twisted in society – the twisted in human beings. Each human being carries






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