Heiner Müller wrote Anatomia Titus. Fall of Rome, a re-writing of Shakespeare’s first ‘tragedy’, Titus Andronicus, at the end of the controversial experience of German Democratic Republic. Reworking the Bard’s Trauerspiel and its horrific story of mutilations, rapes and vengeance, at the end of the Roman Empire, Müller intended to deal with the tragic clash between First, Second and Third world, with the dynamics of racism, sexism and persecution. In his play, a peculiar role appears to be played by non-human characters, such as animals of any kind (dogs, rats, flies), not to mention statues and meteorological phenomena such as snow. In a plot where the eye-for-an-eye logic seems to prevail everywhere, and where the notion of ‘politics’ appears to stem directly from Carl Schmitt’s writings, Müller draws intuitions from Kafka and Deleuze and Benjamin, in order to define alternatives and to relocate heterogeneity in a homogeneous world. This paper intends to show how in the drama economy is up to beast and minerals to signify political difference.
Una lettura degli elementi politici della tragedia del tardo Heiner Mueller