Hotel Padadiso by Familie Flöz – The balancing test of spoken drama

This is a concert that left a lot of impression and feeling (although sometimes the niece is to be concerned). First of all is freedom. The play has options that make it easy to move around in an easily obstructed (common sense) context such as a language problem (solution: pantomime), experimentality (solution: exploitation). the form of “animation” which, as our observation is very updated, “empirical” in the field of vision while reaching the position of “global language”).

Therefore, a non-verbal play, more than an hour, with the interruptions and interruptions created by the familiar experimental logic in contemporary art created by “hybridizing” materials, creating spacetime. Space, … does not make the viewer “hard to understand”, bewildered by the lack of connecting lines and visuals; still expanding complex meanings after funny details, horror situations, smooth moments, fermenting emotions with the function of “entertainment” and “pleasure”.

Next is the feeling of quite tightening. The story takes place in a family hotel consisting of a mother, son and daughter, in addition to the butcher who often wears a bloody apron, and a maid who cleans cleanly. The 4-star hotel is located in the mountains trying to preserve the foundation that the deceased father left. Life revolves around struggle, struggle for position.

Each person possesses the power that makes others wary and they are present, useful in that space by that power: the mother and the cane; the son and the bell; the daughter and red flowers, red gun; butcher and knife, sawing machine, eyeglasses; maid and multi-layered dress. Prominent is the conflict between her daughter and brother. The daughter appeared by the red landing, fast rhythm wanted to replace the “sensory configuration” of the hotel. She gave off what she wanted to defy, just to delight her obsession with red.

She is ready to red up all. The mother creates a balance with the role of mediating conflict through respectful rituals of unanimity towards her father, or suppressive whips. Through one-third of the play, the feeling is quite “classic”: the human story begins in a new, old, traditional-modern collision; cracks for rights and position; the nostalgia of nostalgia about the old, quiet, orderly realms.

However, the play is not intended to reconstruct the moral moral landscape of a “land” or to provide coordinates to refer to place names. “Paradise hotel” does not take us to “paradise” as a place format. It shows us the possibilities people can “(re) coordinate sensory” when creating living space. In other words, it questions “heaven”.

The popular way of creating life is to use force and violence. They envision the world in a zoned manner, so they wither, spin and panic because of their other existences: the daughter changes the white flower next to the picture of the deceased father with red flowers, tearing off the polka dots curtain li red curtain, then bell, and then, as if not enough she had to cover the red carpet on the floor to be satisfied temporarily. The most frightening room was the kitchen – where the sound of harsh barking dogs, the sharp sound of meat splitting meat. All make room for heaven: absolute, ideal, pure (of the senses “like to be like that”)

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