What are some epic tweets in India

The Indian Ramayana Epic and Globalization

The story of Sita's kidnapping could be understood as a mythical justification for the now forbidden Indian widow burning: Sita follows her husband, King Rama, into exile for 14 years and is kidnapped there by another king, the demon Ravana. But she refuses to marry her kidnapper because she loves her husband. When he finally saved her, he suddenly doubts her loyalty - and she has to prove it with the help of a trial by fire. When it exists, they live happily ever after - in a later version, Sita is rejected pregnant and later ascends to heaven. Every child in India knows the story - and Sita is seen as an "ideal wife" by Indian women, according to Wikipedia. As a western observer, one can only guess what deeper connotations of meaning the ancient epic has for Indian society.

Joachim Schlömer does not even attempt to stage a large west-east world plan, as Peter Brook once did with his nine-hour "Mahabarata" production, which has now become legendary. Rather, he brings an almost one and a half hour experiment on stage, a wild collage in English of western and eastern dance elements, with shadow games, European video messages - and a lot of wonderful Indian live music:

For Schlömer, kidnapping is a kind of modern metaphor for everything that is wrong in the world: terror, globalization, exploitation. In order for us to understand this in any case, German slips of paper fall from the ceiling into the audience, on which globalization victims report on their working conditions or the superfluity of the "fight against terror" is emphasized. As a video-projected CNN news show with lurid headlines, the Indian actor Manish Chaudhari then quickly recounts the epic and its side stories.

Princess Sita is represented by two women: one is a traditional Indian dancer. With the demon Ravana, an athletic, western dancer who wears a gold chain on his bare chest, she dances a spinning, shyly approaching duet of cultures. The other Sita is the performer Johanna Eiworth. She wears a blonde wig and white dress and speaks into the microphone texts of a kidnapped woman, inspired by interviews with Susanne Osthoff. We remember: the mysterious kidnapping victim in Baghdad, who allegedly carried part of the ransom after her liberation and wanted to return to Iraq as soon as possible.

Susanne Osthoff's interviews are not exactly high poetry and the way of speaking, distanced by the microphone, does not create emotions either. This only works in rare moments, for example when Sita and Rama remember their love pact.

But time and space become blurred, immediately afterwards the actors sit down at a table in yellow to save the world at a "congress on kidnapping", which, however, slips away in helpless polyphony: in pleadings against salinization and for feminism. In the last scene, Rama separates from Sita and the fire flares up on video that she has to go into.

The staging does not attempt to depict an alien myth, but rather provides counter-evidence: that the world can no longer be portrayed as a myth today. That the story of Sita's loyalty is impossible because, as an abductee, you cannot remain "true" to your old certainties, since the human being adapts to the circumstances - and is subject to the so-called Stockholm Syndrome.

"The Abduction of Sita" has turned out to be an honorable evening, which one cannot blame: politically and educationally committed, with wonderful songs and dances, and yet unease remains: because the eastern and western set pieces do not result in a poetic whole. Because you hardly feel any emotional involvement through the theses-like microphone language. Because one would like to see more of what Schlömer's original profession was: dance. And because the Indian actors, no matter how excellent, ultimately only remain exotic decorations for the politically rather simple theses of a western director.