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