There is a certain form of postnatal abortion, performed by fathers. This score is the portrayal of such an abortion in the form of a fresco.
A man, facing the auditorium, in which everyone present could be the judge. A man, who is the defendant and the defender, both at the same time. He switches from one voice register to the other effortlessly and without hesitation. The structure is full of antiphonies, it is a public speech, appealing to its listeners in each paragraph, clearly and urgently, as if it was seeking approval, agreement or the crying out of “amen”. The text is a simple score in three scenes and it has to be absorbed in all its complexity, without a break.
The spectators are taking their seats. The man on the stage seems to be praying. A cot, a blanket, toys and soap, a small bathtub, a clutch pedal and a baby car seat, a car, the rain, hands, a pram, the steering wheel and concrete pavement and a garden, a kid´s room with a cot, a baby car seat, a kid´s room with a cot, a small bathtub, a garden, a small bathtub, a cot, a small bathtub, a garden, wheels, wheels, wheels. He stops praying and switches into another voice register, designated for the audience. The performer opens the first scene with ridiculous graveness.
Gentlemen, let everyone here, who has ever had a father, a dad, raise his hand, because, it is going to be a father, who shall be judged here today, without any doubt.
Yes, gentlemen, let everyone present here today raise his hand, everyone, who has ever looked into the eyes of that giant, of that being, so infinitely bigger than himself, and who addressed him with the two little, heart wrenching syllables (daddy). Do you know what I mean?
Yes, you do, because it is going to be a father, who shall be judged here today, without any doubt. It is a father, whom we shall judge for allowing the abortion of Miss Villaflora´s pregnancy.
translated by Ester Žantovská
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