Who and what become the Heroes, when they drive themselves beyond words?<\/p>\n
We know that they are white, hetero-sexual, cis-gender, middle-class, family men. One is married and the other one has a real estate. The audience is absolutely convinced that they are best friends also privately, not only on stage, but Vito and Uro\u0161 don\u2019t barbecue together, they don\u2019t go on holidays with their families together, they don\u2019t share a boat, they don\u2019t play basketball together, they don\u2019t listen to the same music, O.K., once a year a family picnic or lunch \u2026 and that\u2019s it. And still there\u2019s something there between them, they don\u2019t dare to acknowledge. At least not aloud. That\u2019s why they decided to end the dictate of words. They simply can\u2019t have it anymore. Words became unnecessary and intrusive. Only on stage and in front of witnesses are they willing to cut into the unspeakable. With the excuse that the stage can bare anything, because nothing is true and all is fake. Though the question remains, how much of this can the audience still take and not lose fantasies of an ideal partnership, because if the audience knew how much Vito and Uro\u0161 love each other they would never watch any other show with the same eyes.<\/p>\n","protected":false},"excerpt":{"rendered":"
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