“The title KOKON paraphrases the main essence of the plot and contemporaneously it’s an allegory of one of this play’s messages: Being put in prison in his own body, in a very small and reduced world. The idea behind KOKON was to make a play, which acts in a common box. Very elementary. Just a box without fixtures and colours. Just a monochrome box. This gave me the possibility to concentrate on very strong theatrical figures and characters. My main intention was to underline the gloomy drama of the story. Thus we had neglected all kind of comical and ambiguous elements, which for example had been part in some former Angizia plays. I didn’t want to make something consciously “unfunny”. No, every moment in KOKON is full of drama and all we did, all we wished to do and all we have played, spoken, elegized and shouted in the microphones was a drama, nothing else.
I wished to have an intensive & gloomy drama, a dramatic plot, dramatic scenes and a dramatic final scenario. Every step we did was done with the intention to work on a drama. Of course in Angizia’s works a listener will always find sweet and morbid scenes, some irony, sarcastic love, sympathetic antiheros and many bizarre elements. But KOKON is a grim and gloomy drama.
The plot is based on three important characters. The main protagonist, which most probably I represented as mature “anti hero”, is the HOMUNCULUS and thus a creature, which is caged in an arcane cocoon, dangling and moaning on the box’ ceiling. The Homunculus is drugged up to the eyeballs with poison, knob and pain. He is the creation of FRAU JANSEN, a grotesque spinstress and her cruel husband (HERR JANSEN), a curious captain with an awe-inspiring pistol. All the JANSENS wished to have is their own magnum opus, which should be their permanent fixture in this common box. A work of pain, agony, love, hate and passion, which they adore day for day. It was the perfect scaffolding for our musical ideas.
