Nuran David Calis

I’m sorry mama
I never meant to hurt you
I never meant to make you cry
but tonight I’m cleaning out my closet. (Eminem)

Dog Eat Dog – ten years later no one is talking about an escape anymore. Au contraire, middle class is the name of the game, cosiness the battle cry of middle-class living. Only one moved away, but even he is driven back – to Baumheide. Memo, 30, wants to carve a tombstone for his deceased father, pay his last respects to him after seven years of flight. But everything has changed. His mother Lale now has Mike, Frank lays cork flooring, Alex dives into the sewers, Christin plays the Ukrainian prostitute.
Memo’s arrival disquiets the fussy uprightness of the settled ones, the returned chafes their nerves. Uncontrollable energies find their way. Memo, despite being passive, serves as a trigger for long-suppressed hopes and passions. The bourgeois is revealed as an empty façade with deceit, betrayal and murder lurking beneath. Memo is held responsible for the crash of life plans. Together with the dug-up skeleton of his father he buries Mike, Frank and his mother. It’s the day of reckoning.

Dogland, the second part of the home trilogy, recounts the moment when what is established must be questioned and life’s lies must be revealed. What is left when we have to face our doubts? Like in Dog Eat Dog, Nuran Calis creates a heavily close intensity in the connection with music, a fascination with dread, whose roots are in this play founded in everyday life.