The project aims to raise awareness of gender equality and cultural diversity among a broad audience. By reinterpreting classical literature from a feminist and postcolonial perspective, we want to promote critical thinking and stimulate discussion about social norms. On the one hand, the diverse creative team (from Cameroon, Iran and Germany) contributes its own unique cultural experiences, and on the other hand, the research section (which will become an installation on stage) will give a voice to various women from different nations. This increases the visibility of underrepresented voices in society.
Why is Greta crying?
This question is the starting point for Edith Nana's theatre and installation project. Growing up in Cameroon, she read Kafka's work ‘The Metamorphosis’ in 9th grade. Since then, she has been preoccupied with what Kafka's character Greta would say and how she would act if she could. The text mentions twice that Grete cries. However, why she does so remains unclear. Due to her brother's changed position in the family structure and ultimately his death, Grete transforms into a woman of marriageable age. No one asks her whether this is what she expects from the future, or whether she has chosen this path for herself.
Just like Greta's lack of perspective, there are many gaps in Kafka's texts because the positions of female characters do not appear, or their dreams and expectations for the future are defined by men. Another example of this is Milena, whose letters, unlike Kafka's correspondence with her, were not published. Her words and thoughts about Kafka do not appear; only the male perspective is received. Edith Nana takes these gaps in the texts as an opportunity to create a space for the female characters. What would these characters say if they could? What decisions would they make for themselves? What are their dreams and expectations for the future?
