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Szerző/Author: Vera Kérchy (University of Szeged)
E-mail: farkas-kerchy.vera.szonja@szte.hu
Rövid életrajz/Bio: Vera Kérchy is Associate Professor at the Department of Comparative Literature, University of Szeged. She received her PhD in 2012, and completed her habilitation in 2021. Her major research interests are poststructuralist literary theory, postmodern theatre and film. She has published two books: Színház és dekonstrukció. A Paul de Man-i retorikaelmélet színházelméleti kihívásai (Theatre and Deconstruction. The Theatrical Challenges of the Paul de Man-ian Theory of Rhetorics) (2014), Médea lányai. Performatív aktusok a kortárs film „színpadán” (Medea’s Daughters. Performative Acts on the „Stage” of Contemporary Film) (2019).
How to cite:
Theatron, Vol. 16. No. 4. (2022): 118–128.
Cím/Title (ENG): The Responsible Hands of Theatre. Minor and Major Forces on the Stage of Metanoia Artopédia

In this study, I analyze the 2013 performance of Metanoia Artopédia, Ice Doctrines. Variations on Nazi Rhetoric in the context of the history of the Hungarian independent theater group. Using Judith Butler’s thoughts on hate speech and Gilles Deleuze’s minor/major use of language, I try to show that the shift to “major” forms and topics (the power of representation and the representation of power) from an Artaud-ian “minor” theatre does not mean a radical change in the group’s history, and the theater of “kings and princes” gets necessarily deconstructed on the stage of Metanoia. After 20 years of owning a minor perspective – the world of the “saint idiots”the group takes the perpetrator’s point of view and stages the Lingua Tertii Imperii (the language of the Third Reich). Still, Ice Doctrines remains “minor” as it finds the “lines of escape” within representation.

Keywords: Gilles Deleuze, Judith Butler, Metanoia, hate speech, minor theater