Posts Tagged ‘Capitalism’

Dark room, pink curtains, the sun seems to have promised herself to blossom every living being. It paints the walls into pink through the little gaps between every thread of the curtain. The ceiling is in my eyes, my eyes are on the ceiling and it is not yet pink somehow. Pain in my shoulder, goes to my groin, stays there, increases, leaves its half there and moves all the way from my thighs, legs and toes. It introduces itself to all my bones, muscles, veins, arteries and it makes sure that they all know it very well, it rules, it dictates every piece that exists in my consciousness.

There is a knock on the door. Should I bother? Should I? Still knocking, getting inpatient. It must be important. I should get out of bed, but my pain, in all my veins. Oh God! It is all vain! I am coming! I am coming! Let’s have a look, Hell! That can’t be true!Didn’t she die last March? What? That must be a nightmare, no daymare! Or, or is this how one’s end begins? No I am not opening the door! I should not!


Arthur: Hey I know you are there, open the door!

Melanie:  Where am I?

Arthur: Behind the door!

Melanie:Where are you?

Arthur: Behind the door!

Melanie:Why can’t I see you, or touch you?

Arthur: Because you have not opened the door!Just open the bloody door!

Melanie: Door? Open? And I open the door.

Arthur: What the hell have you been doing behind the door?

Melanie: I was, I was a bit confused and I was, I was in pain…

Arthur: Yes, you should be!

Melanie: I should be?

Arthur: And you will have more pain if you keep doing that…

Melanie: Doing what?

Arthur: Whatever you have been doing since March…

Melanie: Hang on! Didn’t you die in March? How comes you are here, asking me this and that?

Arthur: That is what you know. Anyway, you must pay your debt!

Melanie: Debt of what?

Arthur: Of your silence!

Melanie: About what?

Arthur: About my death.

Melanie: What was I supposed to do?

Arthur: Investigate, ask, find…

Melanie: Find what?

Arthur: My murderers.

Melanie: Your murderers?

Arthur: Yes, my bloody murderers!

Melanie: Did you not die of cancer?

Arthur: Yes, that’s how everything started, but how did I come to that point?

Melanie: How?

Arthur: Don’t play me dull, you know how, didn’t you write it down? All you don’t know is what you really know and how you don’t know what you know.

Melanie: No, no I admit I am a bit dumb, I stopped writing things down.

Arthur: See, I knew that you knew.

Melanie: Knew what?

Arthur: Why did you stop writing things down?

Melanie: Nothing was worth.

Arthur: True you can’t write about nothing, but surely you can’t see the nothing, because it is nothing. So what did you see but said nothing, wrote nothing about it?

Melanie: Did you come all the way from your grave to find this out?

Arthur: That’s not the answer. What did you see but said nothing and wrote nothing about it?

Melanie: Can you take me to my bed before I travel to your land?

Arthur: True. Peace only resides in my land, never forget that!

Melanie: Well said, but I don’t want that just yet. Please take me to my bed, I can no longer bear.

Arthur: Does it get better when you are in bed?

Melanie: No, not really, pain is still there in my guts, groins, bones almost everywhere.

Arthur: When did it start?

Melanie: Soon after your death.

Arthur: My death, let’s go back and investigate. What did you see, witness or even experience but said nothing and wrote nothing about it?

Melanie: Lots of deaths.

Arthur: Where?

Melanie: In the big and little squares, almost everywhere. First I saw it in Slone Square where an author made fun of death that occurred in the war million times even more, and  I saw the death of audiences who applauded his lines with no breath, and I saw the death of our humanity and I saw, I think I saw the killer also.

Arthur: Why did you say nothing, or write nothing?

Melanie: I was almost breathless by the blindness of public.

Arthur: You said they died.

Melanie: They were blind as if they were not alive.

Arthur: What did you see next?

Melanie: I saw group of men in Shepherd’s Bush, who claimed to be author and director but reminded me of George W Bush. Somehow they sounded like they were troubled with their manhood and had the courage to write about women.But they made themselves like little Gods in women’s world where women were unable to think about nothing but penis. The poor actresses had to suck plastic penises and hysterically cried.That was death of their art, as they failed to see anything but their penises which obviously have puzzled them maybe even overwhelmed them and not allowed them to see anything  else in such a tumultous time of the history. But it was a good effort to spread the fog in some heads which were almost dead. And their hands, their hands applauded and applauded.

Arthur: Why did you not say all those things?

Melanie: Because as soon as I tell the truth about anything, I get labelled as feminist and I hate it.

Arthur: Without a name, you can’t exist.

Melanie: Women have no real name.

Arthur: Don’t you think they exist?

Melanie: Their existence is reduced to only one and same the purpose.

Arthur: But they can increase it as long as they still exist and resist. So what are the other deaths you witnessed?

Melanie: I saw the death of morality in man and woman for the sake of non-violence relationship. I saw the death of respect for human mind and human life. I saw this on the youngest stage of Peterman who sat a suit with no man in it and forced the audiences wear it. But that suit was the suit of a sinner who immoralised a very happy family life.They killed and laughed, they killed and laughed, and people, too, laughed and applauded.The Theatre of Cruelty had its last moment on the stage, they laughed and applauded.

Arthur: Why did you keep quiet?

Melanie: My mum always told me to keep quiet when I have nothing nice to say. And those people who laughed were happy, I didn’t want to spoil their happiness even though it wasn’t real.

Arthur: Happiness is the weakest moment of human beings, it is their darkest blindness.They can accept the unacceptable at those moments.You are responsible to show people what you see and hear and let them see and hear.

Melanie: Yes, yes I know that and I will never forget.But it is not just that, I saw another author and director in the best part of Licester Square.They were showing the best ways of making noise quietly and very statically rather than liberating people with their art. Oh , I can feel it in all my veins.

Arthur: Pain?

Melanie: Yes, it is terrible. But not as much as the smile of a man who stood by a dead man’s head with no respect and laughed.

Arthur: Did you also lose that?

Melanie: Apparently yes. But Hirst did that in his driest thirst. He had no message about death apart from some shock waves he insensitively tried to send to the viewers’ heads. If he really cared, he would have also added the dead bodies of WWI to Vietnam War, from Afghanistan War to Iraq War, from Libya to…He would have added dead  bodies of children who were abondaned and died of starvation in various part of this globe…

Dead souls of every shopping mall , of every hole of every high road, of every highly materialised piece of art which has no better idea than making a diamond skull, while it undermines and attacks every skull that are currently alive. I am, I am , I am no longer a-l-…


Hirst’s Diamond Skull.

Arthur: That’s my death.

Melanie: No it is my death, I am , I am d-e-a…

Arthur: They will materialise our dead bodies and sell them to others….They will monetize our…

Melanie:They will monetise our dead heads, legs and our va…Oh I don’t even want to imagine…

Arthur:Hirst is very good at that, I am sure they will hire him…

Melanie: Let’s go to your grave!I no longer want to stay…

Arthur: No,let’s go to Hirst’s place and see what he is licking at the moment.Flesh or a dead bum…

Melanie:Let’s go…


Hasn’t Anton Chekov’s play “The Cherry Orchard” been treasure trove for those who commercialised it after his death, adapted and re-adapted it and commercialised it over and over again for more since its premiere on 17.01.1904 at Moscow Art Theatre? Would Chekov be happy if he saw use maybe even abuse  of his socialist play by capitalist art centre owners in the name of art?

These questions were dancing in the curls of Ranyevskaya while Zoe Wanamaker was performing her best in a black satin dress in the latest version of “The Cherry Orchard” at National Theatre, Olivier. Surely she wasn’t the first and was not going to be the last actress playing  the wealthy woman, whose moneyed world shatters when her ancestral house and the big cherry orchard are bought by her former peasant, as a result of her own irresponsible acts and of  Alexander II’s social reforms in the late 19thcentury in Russia.

Zoe Wanamaker plays Ranyevskaya in The Cherry Orchard at National Theatre,Olivier.

In the first scene at Olivier Theatre’s dimmed stage; Lopakhin (Conleth Hill), a merchant-a former peasant ,whose father was a serf in the estate, and Dunyasha (Emily Taaffe),a young maid, are waiting for Ranyevskaya(Zoe Wanamaker), who is a loser in love and life, to return to her ancestral house in Russia.She comes back home  with her 17 years old daughter Anya(Charity Wakefield) and their highly cultured manservant Yasha (Gerald Kyd) after spending five years in Paris with her ill lover whose disease left her in a great debt.

After their exciting arrival, Anya reveals that her mother sold the villa at Menton and spent all her money irresponsibly and they barely managed to get home.Young maid Dunyasha tells Anya about Yepikhonov ‘s (Pip Carter), the state manager,proposal to her while Anya can’t wait to spend some time in her room that she missed so much.However when Dunyasha finishes her story resentful Varya (Cludie Blakley),Ranyevskaya’s adapted daughter and housekeeper, starts telling her fruitless relationship with Lopakhin.She can’t get enough attention from Lopakhin, who spends most of his time on his work and doesn’t think love is as important as his job,while everyone in the house  expects them to marry soon.

Lopakhin tells Ranyevskaya that the estate will be sold at auction in August to pay the debt if they don’t come with a plan and explains his idea of cutting the cherry orchards and building holiday villas in the end of the first act. However Ranyevskaya ,who is obsessed with her state and the cherry orchard, doesn’t agree with him.

Chekov, who originally wrote the play as a comedy and got very upset when Constantin Stanislavski directed it as a drama, shows the funny sides of the characters in the second and third acts which are quite static. It is hard to say  Stanislavski was wrong but it is also hard not to laugh while watching first three acts which give dual nature to the play. However he doesn’t forget to tell us about his Marxist ideas with the words of long term student and Anya’s tutor-lover Petya Trofimov(Mark Bonnar).We also understand insignificance of money and property but holiness of love in Petya’s lines when he talks to Anya.

In the last act Ranyevskaya ,Anya,Gaev ,Trofimov ,Varya,Yasha(a man servant who had an affair with Dunyasha),Dunyasha leave the estate as Lopakhin buys it at the auction and becomes the owner of the house where his father was not allowed to go to  its kitchen as a serf. Ranyevskaya goes back to her ill lover in Paris with the money of her last inheritance house that is sold with Yasha; Gaev gets a job as a banker;Varya, who paifully waited for Lopakhin to propose her througout the play and didn’t get it,finds another house to work for in Russia;Anya and Trofimov leave to discover survival of their love.We don’t know where Dunyasha,who prefered Yasha to Yepikhodov but was rejected by Yasha after a few happy days,goes after her departer. However they forget the old Firs,who just came home from hospital after being ill for a while,and lock the door when they leave. He dies behind the locked door and the play ends.

They play forces to pay attention to every move and word of every character however it never tries to get sympathy of the audiences which is one of the best known features of Chekov’s plays.However Bunny Christie’s design and and Stephanie Arditti’s elegant costumes , Dominic Muldowney’s music and passionate acting of all the cast  mesmerisingly take every audience to the time when the play took place in Russia.

The Cherry Orchard first appeared at National Theatre in 1978 , directed by Peter Hall.The new production  is  directed by Howard Davies in a version of Andrew Upton for National Theatre  and will be on until 30th June when it will also  be broadcasted to the cinemas around the world.

The Cherry Orchard was staged 300 times while Chekov’s wife Olga Knipper was still alive and played Ranyevskaya on its premiere in 1904 and on 300th production in 1943 toured every country including Africa ,Middle East and India.Royal Sheakspeare Company and BBC TV released the film version of the play directed by Mitchell Elliot in 1962 and DVD by BBC Worldwide Ltd in 2009.

When Einstein said “You are what you think.”, he did not know how capitalism’s intellectual slaves  were going to use and abuse  his statement  to corrupt  millions of individuals.

First, when  most people  were all made obsessed with their weights and diet. Some said “You are what you eat.”. That  made me laugh a lot. What do you mean I am what I eat? We all know  chemical contents of foods  have different effect   in our body, they can change our behaviours. But how can you say that food can control human beings and make them who they are. We all have a brain, which can be affected by chemical intakes but we are still in control. How can you dictate me that whatever I eat shapes my personality and controls my body ,brain  and soul?

Albert Einstein:"You are what you think."

This can only be true if all those  food companies worked  with politicians to manipulate  the societies  but of course not every individuals .Otherwise it undermines  our  intellectual and spiritual existence.
Imagine if this was true, if politicians and those business men worked together to  manipulate the billions. “Oh ,no I want my son to become  a conservative, so I better buy the milk which contains so and so chemical .” ,a mum would say in a shop. “No, I don’t eat fish , I don’t want turn to a liberal democrat. I only eat green foods because I vote for labours.”, etc… would be a normal conversation. Well, in this scenario all the anarchists and independent thinkers would starve. Luckily it has not happened yet despite the fact that science is controlled by politics.

On the other hand ,can everybody eat same food  as we are still fighting  poverty ?Does that mean ,one can be a better person than  the one who eats poor quality food just because his  budget is small? Are we still what we eat? Just laugh!

Today’s philosophers and their followers think  that , “We are what we do.” Really? Are you kidding me? How many of us do what we really like to do? In fact ,most of us don’t even know what we like which is the most painful thing one can ever experience , after all those identity attacks of adverts. But let’s talk about the first one.

We all spend more time at work than we spend time for ourselves which is why most of us don’t  know who we are .However  some   have enough time to think on our behalf and say, “You are what you do.” No we are not. None of the things  I do in that hierarchic system can define me. I am not the person who greets my boss that tells me what to do all the time  ,I am not the one who explains the same thing to clients according to some stupid policy hundred times a day. I cannot abandon human life just because  there is no financial benefit  in helping them. But I do, because this is how things work according to big bosses’ book.

I am not the one who gives fake smile to my colleagues who are made paranoid about their co-workers   by the same policy and can not be human to each other. I am the one who sees how people at work have become a puppet. Does  anyone care  about those puppets  who don’t want to lose their jobs but their identities? Most people  forget one thing that their lives are cheaper than the companies’  broken car  and  they are more disposable than their bosses’  handkerchief .

Therefore don’t even dare to say that you are what you do. The uniform I wear every day does not  define 0.00001% of my personality. Who are you telling me who I am .I know who I am. I am a thinker ,no matter how hard you try to stop me from thinking  I am a thinker and I will always  be. Stop raping Einstein’s statement .It is “You are what you think.”

“You are what you do” is the statement that  remains exclusive since life is not fair, not everyone has the same opportunity or chance to use their potential to do what they really like following a higher education.

If you do what you really love with a huge passion, your job can define  50% of you ,only if your company works ethically ,respects what you think and gives you a chance to activate your thoughts. Only if you don’t have to be a puppet , pulled and pushed by your bosses  or by  their policy thousand times a day, then yes you can be what you do but  only by  50%. What is the other 50%? That’s you or you searching who really you are.