The Comic Mysteries

Fo was an artist renowned for his satire. He created theatre based on improvisation, the grotesque and the commedia dell’arte tradition. The themes of his work often served as a critique of the Catholic Church, which caused him many problems in Italy. At the same time, however, he sought to give a voice to those who usually don’t have one – the workers and farmers. The aesthetic of Zinajić’s production is strongly camp. The set design, by Darjan Mihajlović Cerar, together with the costumes by Matic Hrovat, resembles a school nativity play. There are curtains bearing the face of Jesus and a backdrop depicting Jerusalem; all of this evokes religious kitsch while simultaneously referencing an older style of theatre that relied on painted scenery. The same applies to the costumes and props – paper wings, plastic helmets, and a cross made out of ladder. The aesthetic layer alone suggests that what we are about to witness is satire, something mocking in tone. From this visual style, it follows that church rituals and traditions, as well as the pomposity of classical theatre, will become objects of ridicule. Combined with the textual interpretation, additional layers of meaning and further motifs emerge that are likewise subjected to satire. […] The whole is interwoven with songs that allude to nativity plays and musicals, which the creators ironically mock. Another layer of the performance is provided by the Catholic Church, represented by the figure of the Pope who appears from time to time to speak with Jesus. The whole thing is non-chronological, chaotic and Brechtian in nature. The creators seem to be 'performing performance' – theatrically and humorously reenacting theatre itself as a form.