“Hasanaginica” is a brutally honest theatre production.
Has feminism’s monopoly as the dominant form in the struggle for women’s rights been defeated? As a political platform, could it perhaps be at odds with female nature? What is the status of women’s freedoms in the era of the “Me Too” movement? If spectacle has become the middle name of that struggle, does tabloid-driven, sensationalized morality make the entire movement less relevant? Has runaway liberalism, in its political inertia, distanced the essential needs of a woman’s being from the “crusade” waged in the name of her freedom?
What is one woman in relation to an ideology that fights on her behalf? Has human-rights-based women’s activism neglected the ultimate essence of freedom a woman’s freedom, and everyone’s the freedom of individuality? Is a man designed according to the measures of feminism even attractive to a woman? Is it too controversial to even ask whether a man and a woman naturally build their chemistry, harmony, and attraction upon inequality?
Will the future bring us a type of man who looks like a bearded lumberjack and who, alongside his partner, breastfeeds their child? Whatever future cultures may bring, one thing is certain: we will remember the measure of women’s inequality through the examples of their SUBVERSION as a response.
Just as we have remembered Hasanaginica’s for centuries.