The Caucasian Chalk Circle

Alright, I'll do the test again, just to be sure," Azdak said the judge, before asking the child to re-enter the chalk circle and again calling on the two mothers to prove which d "between them is the real one. It is the most familiar scene in the play: a legend, a "very old legend". The outcome of the test is also well known: the child is entrusted to the most " maternal" rather than to his biological mother. But what if the child has a choice?

Two mothers show up and compete for a job, a title, a relationship, a role, an opportunity - but which one should the child choose? The one who forgot her own flesh and blood, or the one who looked at the child too many times to forget him again? The one who can grant all the wishes of the child or the one who can barely give him a few drops of milk? The one who is able to take shelter or the one who did not know how to manage and who killed a man in his flight? The one who takes care of others or the one who is used to being taken care of?

And that's all ? Are there no other options? Who else can choose? Judge Azdak, who dispenses justice when he accused himself and is really only a village clerk? A lawyer ready to do anything to help his client assert his rights? Armored horsemen risking their lives to do their duty? A soldier in love who doesn't want to believe that change is possible? Those who want to possess or those who can let go?

And the public, would that be an option? After all, they are just as present as the others. Who should the child confide in? Who is a good role model?

The artists of Theater HORA bring their own rules. New rules are to be invented together. Can this "old legend" be told by artists who will probably never have children and rely on others to take care of them? Take time to reflect: on having children, on raising children, on losing children. Remember being a child.

Read an answer as a question. Put a question mark on a manifesto.

Think what is not said; hear what is only thought. 

Carry on. Clarify what is important enough to be tested. And that should never happen. Try out rhythmic and melodic patterns, switch roles, let percussionist Minhye Ko and the performers decide who will play what.

Think about what it's like to run away from home.

Think about what you are leaving behind. Think about how it must feel to be in exile. Think of a fresh start as an opportunity. Observe how everything changes when the gaze lands on it.

See how the words fall on fertile ground.

Alright, I'll take the test again.

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https://www.rimini-protokoll.de/website/en/project/der-kaukasische-kreidekreis

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