TAŤKA STŘÍLÍ GÓLY / DADDY TAKES THE GOALS
Cast: 10 men, 2 women, a dog
A chance „epidemic“ of violence breaks out among a group of people standing around a late-night refreshment stand for the father´s banal birthday celebrations. The text attempts to capture the irrational psychology of outsiders and asocialites. The ramblings of a frustrated alcoholic who boasts about his son, a successful footballer, suddenly starts edging away from murky sentiment and boundless admiration for his heir towards aggression – at precisely the same moment when the son clearly voices his shame of his father´s life and his wish to distance himself from it. When another participant of the drinking session steals the son´s wallet, the act provides a pretext for the first, seemingly unconscious but, for this reason, all the more cynical murder. The play genre is thus gradually transformed from callous naturalism to a bizarre black grotesque. The impoverished slang favoured by the lowest strata is stylised and formally elevated with the use of staccato rhythm.
The language of the play is direct, pub language spiked with numerous vulgarisms. The biggest let-down with analogous texts is that they deal with banality in a banal way. Dad Scores, however, owes i ts pub-periphery poetic to essentially more interesting works whose harsh realism took hold on European stages in recent years. (Zdeněk A. Tichy: Taťkův sen noci svatojánské není příliš veselý, Mladá fronta, 26. 1. 1999)
The play is available also in English and Hungarian translation.