Donnerstag, 16. August 2018
 

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Profile A (II) RH +

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Profile A (II) RH +
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She is a camera

by Petra Kohse

today/ you throw away the shopping list/ the one your wife sticks in your pocket/ every week//
you make yourself a new list/ ipod/ English/ dumb-bells/ still water/ protein//you tell your wife/ we're the greatest people on earth/ I know it/ we know it/ the whole world knows it!

Nicoleta Esinencu's scripts aren't the kind that you just quietly read through. They need to be spoken out loud, several times, again and again. Even with the first word of "A (II) RH +" (pronounced as A two rhesus positive) the sound is there, along with the rhythm. The directness, which shoves you into a strange life, as if it actually concerns you, and the unemotional urgency, which results from the mixture of the banal with the extraordinary.

You are ten/ and the teacher continually repeats that you/ are a stupid idiot/ because once again you haven't done your homework/ she whacks you across your hands with a ruler/ and tells you that you'll be punished//
There's a piece of paper in front of you/ where you'll write again/ a peace treaty (…).

Identity crisis ridden, war-experienced, destitute
This is the beginning of "Gegenmittel" (Antidot, 2008, German version by Maria Neacsu), a text about the transnistrian conflict which affected the Moldavian population more than anything in the years following the fall of the wall and which had the result, that the Russian army are still in the area. "Fuck you, Eu.ro.Pa!", Nicoleta Esinencu's most well-known piece (2005, German version by Helga Kopp) is rather playful in its form, but its content is more cutting. It starts with the words "Daddy, I have to tell you something". Then blow by blow the names of 30 diseases follow. A as in Adipsia (absence of thirst) or C for calcification – pathological pillars from where the narration on growing up rises in the obscene emptiness of a radical change society – somehow no longer Soviet, but at the same time nothing else.

Today. You. Daddy. Nicoleta Esinencu's suggestive rhythmical harangues, where she so perfidiously describes reality as she has experienced it, begin quite harmlessly. Nicoleta Esinencu is: A dramatist from the Republic of Moldavia, who was born in the capital Chişinău in 1978 and still lives there, or better said lives there from time to time, despite the slight chances of employment. So-called reality in here: post-Soviet, at the same time communist-governed, on the edge of Europe, along with many identity-crisis ridden, identity-battered and destitute.

A salient messenger from the explosive edge
If the on-site experience is missing, you can read about moldovian reality in books, for example in the Moldavia chapter of the Geo-politics volume The European union, Russia and Eurasia, which was published in 2008. Or in Chişinău – city of headache!, a report written by Nicoleta Esinencu in 2006 for apublication of Projects Relations. However, it is also unmistakably found in her theatre scripts.

Their formal consciousness with the disturbingly realistic content is probably what led to the Rumanian speaking dramatist with the brown curls and the friendly rough voice being greedily taken up by Western Europe as salient messenger from the explosive edge. Since 2003 she has been awarded with numerous scholarships and project offers by Germany and France.

"Fuck you, Eu.ro.Pa!" has been shown in several towns in the Republic of Moldavia and despite parliamentary protest is still allowed to be performed, but under the title "Stop Europe" and only for viewers of 16 and over. So Nicoleta Esinencu isn't entirely suppressed in her own country. As she herself said it's more that "artists in Moldavia have no role to play." "Gegenmittel" as an example, a commission from the Goethe Institute as a part of the After the Fall-project, which came out last November in Chişinău, was simply not reported on in the local media.