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  [PASSING DRAMA. Angela Melitopoulos]

ON SITE / PANEL
Verein Medienturm
Großmarktstraße 8b, A-8020 Graz
21.06.2001

How functions remembering and telling a story, when the narrator’s
attitude continuously changes and his memories always reassemble
anew?
PASSING DRAMA describes stories of Greek refugees in the twentieth century. Starting from family-based oral traditions, the author tells about the expulsion of her family from Asia Minor (1923), from a city named Drama in Northern Greece and from her father’s attempt to escape the forced labour in Austria during the Second World War.
A historic argumentation from the viewpoint of the expelled minorities is not intended, since the story does not refer to a single, but to many generations and territories. “The individual fate of the expelled unfolds as story of the ‘privatio’ in the literal sense of the word: as infinite privation [...].” (Hito Steyerl)
The flight as subject-matter of the narration becomes in PASSING DRAMA a cinematic topic on narration and memory itself. History appears as machinery which devours minorities for the good of an invisible majority. Drama becomes the stage of forgetting, however, a forgetting that has not stopped to touch. The forgetting or the quotation of forgetting becomes tangible through the montage of different levels of the past.
Each place in the narration appears as a differentiated time level, one time as place of memory, but also as place of the plot. Voices are used as text but also as sound material. They are the threads of a texture, the narrative structure of the video is hypertextual.
The text of the narrator was arranged and interwoven under the aspect of generative transference: the forgetting of yesterday has interwoven with the forgetting of the day before yesterday and today.

Angela Melitopoulos

Angela Melitopoulos