Mateja Koležnik touches a nerve

The premiere of Tiago Rodrigues’ Catarina and the Beauty of Killing Fascists in Bochum, Germany, was not just a theatrical event; it quickly devolved into a raw confrontation between art, political provocation, and public hysteria. When irate theatergoers surged onto the stage, demanding action and attempting to drag the lead actor away while he delivered a controversial monologue, the scene highlighted the volatile collision between dramatic narrative and real-world politics.

Director Mateja Koležnik, who often works with the Berliner Ensemble, found herself in an unexpected position amidst the chaos. While the disruption threatened the performance of the play, Koležnik conceded that the spectacle inadvertently complimented her direction. “This is an amazing play,” she admitted, acknowledging the potent reaction generated by the drama unfolding before her eyes.

The moment escalated when shouts and objects were thrown toward actor Ole Lagerpusch, who was championing ultra-right political views. In that instant of physical chaos, Koležnik wrestled with deeper questions about narrative and reality. She reflected on Samuel Taylor Coleridge’s notion of a story’s ability to make audiences forget its artifice, grappling with the sudden shift from artistic presentation to visceral, uncontrolled emotion.

Caught in the wings, Koležnik expressed frustration that she was not there to protect her actor from the mob. “I was out of my mind,” she confessed, noting that she had not anticipated the physical attack on Lagerpusch.

Yet, despite the immediate tumult, the performance continued. Once the stage stormers were dealt with, Ole carried on with his near twenty-minute monologue, horrifyingly advocating for extreme political and cultural views. This incident underscored a broader observation: the crowd’s inability to distinguish between theatrical drama and reality speaks volumes about the wider societal slide toward disaster.

Koležnik drew a stark parallel between the contemporary situation and turbulent historical periods. She recalled witnessing similar dynamics in the 1980s back in Slovenia, during a time when nationalism relentlessly championed differences over commonality and force over dialogue. It was a history that echoes powerfully today, where nationalism and sledgehammer diplomacy once again ascend.

For Koležnik, this recurring pattern evokes a sense of deja vu. She felt as if time itself was slowing down, caught in some kind of slow-motion disbelief regarding the unfolding world. Looking forward, with her next production being Chekhov’s Three Sisters, she carries the weight of these historical parallels, reflecting on a world where political forces seem to override common sense.