Capitalism Critique is Inevitable
Interview with Nicoleta Esinencu
The Moldovan director and author Nicoleta Esinencu is not one to tread the middle path. In her theatrical work, she expresses explicit political criticism of existing conditions and a defiant solidarity with workers and other oppressed individuals within the «capitalist success model». Her new work, «Symphony of Progress,» will be showcased at this year’s Zürcher Theater Spektakel. The first part of a planned trilogy on the evils of capitalism, it is incredibly witty and entertaining despite its serious subject matter. Author and publisher Sascha Ehlert spoke with Esinencu about modern exploitation, Soviet exoticism, and the post-colonial strategies of the West.
Sascha Ehlert: What story do you want to tell with «Symphony of Progress»?
Nicoleta Esinencu: In collaboration with the collective I'm working with – Teatru-Spălătorie – our objective is to bring the narratives of migrant workers from Eastern Europe to the forefront of the stage. These individuals endure miserable working conditions in Western European countries and fall victim to exploitation by the supposedly civilised, progressive, and neoliberal West.
«Symphony of Progress» serves as the inaugural instalment of a trilogy. Currently, we are developing the second part, which will take the form of a punk dream. The premiere of this production is scheduled for June in Berlin, at HAU Hebbel am Ufer.
«Symphony of Progress» is loud, in your face, and full of music. You also use very particular power tools and objects in your piece, right? Can you tell us a bit more about this?
Many of the power tools are produced in China. Additionally, we have some older power tools from the USSR. Our idea was to reconstruct and revive them. We collaborated with two electronic engineers, Iulian Lungu and Neonil Roșca, who took on the challenge of reinventing these power tools. Regarding the stage design, the lights we use were discovered at a flea market. We purchased them from an engineer who sells items from the past as a means of making a living. Our intention is not simply to bring objects onto the stage; we are fascinated by the stories behind them. Every object holds a story.
We incorporate these items into our performances because they were once a part of our lives, our families, our memories. Over the past 30 years, there has been a gradual disappearance of our recent history – the stories, experiences, and knowledge of our parents’ generation. There seems to be a deliberate effort to erase anything associated with the Soviet Union and communism. By utilising and reusing these objects, we aim to share these stories and, in the process, gain a deeper understanding of our past.
The performers all wear builders’ uniforms on stage. Do these uniforms follow the same logic as the other objects on stage?
The uniforms worn by our performers are actually recycled uniforms sourced from second-hand workers’ shops commonly found in Moldova. But I must disappoint you: While worker uniforms may appear exotic to people from Western countries, our performers wear the same uniforms as workers in Western countries. You just need to look outside your window to see them. It all depends on whether or not you notice the workers on the streets, the building sites, in front of your door… Many of those who wear these uniforms are from our countries – I mean Eastern Europe – as well as migrants and refugees from diverse backgrounds.
Your work serves as a clear and poignant critique of Western capitalism.
What confuses me is why Western societies aren’t openly criticising the very obvious exploitation. It appears to be a less significant topic compared to the extensively discussed «Spargel season» [referring to the asparagus harvesting season in Western countries]. Everyone seems obsessed with «Spargel», while disregarding how it ends up on their plates.
It seems that many Western artists do not consider the exploitation of the migrant workforce a sufficiently important subject. This demonstrates how privilege is being utilised. Exploiting people is a result of capitalism, and if you fail to react, you become complicit in it.
Who are you addressing with this critique? Or better, do you have any immediate objective in mind?
We must oppose the system, exploitation, capitalism, and the widening wealth gap that benefits the rich while the poor struggle to survive. It appears that we have failed to learn from Europe’s recent history. «Decolonisation» has become a mere buzzword, lacking meaningful action. Refugees are being evicted from their asylums only to be replaced by more European, Christian, and blue-eyed refugees. Roma refugees from Ukraine are denied basic necessities such as food, water, and shelter, revealing the pervasive racism within European structures.
Despite years of advocating for disarmament, we are now openly and shamelessly rearming ourselves. The term «peace» has lost its value in the current climate. So, I am asking: Is this the world we imagined and aspired to live in?
Is it your intention to highlight exploitative labor practices specifically in Switzerland as you present your work at this year’s Zürcher Theater Spektakel?
It is more about the distinction between East and West. Our differing histories have shaped our perspectives. The experiences of going to bed in the East differ from those in the West. People are continually pushed to the margins, with marginalisation becoming institutionalised. Cities are designed in a manner that grants access primarily to privileged, white individuals, while others are relegated to serving them, cleaning their homes and offices.
This ongoing behaviour can be described as a colonial mindset. Indeed, the West treats non-Westerns as «cheap labor» instead of equal human beings, doing their menial tasks without proper compensation. And the moral of the story: The West has declared itself a great success while suggesting that others have failed.
Nicoleta Esinencu and the Teatru-spălătorie collective present the «Symphony of Progress» at the Zürcher Theater Spektakel 2023.