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[[File:Mayan-Artwork.jpg|200px|thumb|Pocket art for the 2002 CD version of the piece]] | |||
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The ''' | '''The Man on the Hill''' ([[Mutli]] : ములువి వినికి ; ''Mulwi Winik'') is a {{wp|Theatre|theatre piece}} conceived, written, and composed by [[Living Idols|living idol]] [[Chu]]. The story is that of a [[Mutul]]ese ''Golden Boy'', [[Hun Ha]], who works in [[K'alak Muul]] as an investment banker. Extremely controversial in the Divine Kingdom, the play is infamous for evoking either love or hatred in the critics, with little in-between, because of its transgressive qualities as a modern re-interpretation of the Mutulese theatre' traditional structure. | ||
== | ==Plot== | ||
Set in [[K'alak Muul]], during the period of {{wp|Liberalism|liberalisation}} known by the [[Mutul]] during the 80s, ''The Man on the Hill'' follow the life of [[Hun Ha]], a ''Golden Boy'' employed by an unnamed investment bank. The piece goes through his everyday life, from his recreational life among the bugeoning upper middle class, to his forays into murder by night. The piece maintain a high level of ambiguity through mistaken identity and contradictions : Characters are consistently introduced and re-introduced as people other than themselves, and people argue over the identities of others they can see in restaurants or at parties. Hun Ha himself is consistently mistaken as someone else by other characters, to the point that some Producers have purposefully organized their plays in such a way to imply that Hun Ha does not actually exist and is merely the archetype of the Golden Boy, a mindset shared by many of the characters who believe to be the only Hun Ha. | |||
The | ''The Man on the Hill'' follow the traditional structure of Mutulese' theatre piece : each act present the same scene, each time with a different twist going from a subtle change to a complete reversal of the theme. Act one present Hun Ha night out in town with some of his colleagues and conclude with him murdering one of them, Ja Jun, out of jealousy and then answering his victim's phone. It's his girlfriend, Mo Yt'e, who's coming to pick him up to continue the night with some of their other friends. The second act is almost a repeat of the first, but this time Hun Ha, successfuly pretending to be Ja Jun, spend the night with his Mo Yt'e and her friends. Huna Ha keep mistaking Mo Yt'e various friends as her and confess his murder, but is either not heard or understood. Leaving early, he discuss with a homeless in the street before murdering him. As the piece continue, Hun Ha sanity deteriorates and it become increasingly less clear to the public and himself what's real or not, and who is who. His murders become increasingly sadistic and complex, progressing from simple stabbings to drawn-out sequences of rape, torture, mutilation, cannibalism, and necrophilia. Nonetheless, no matter how many time he return to Ja Jun' appartment to carry his crimes, Hun Ha always find the place clean and the passing janitor even tell him that the room is currently unoccupied. It is unclear whether it's the building' owner who cleaned up the room and covered up the protagonist' crimes, if it wasn't Ja Jun' room and Hun Ha got it wrong, or if he never committed any crime in the first place. | ||
The piece end as it began, with Hun Ha and his colleagues at a new club on a Friday night, engaging in banal conversation. In this final act, there is no murder nor police shootout or any visible sign of madness except the exit sign on the stage being replace by a fake one saying "this is not an exit". | |||
Revision as of 21:56, 30 May 2022
The Man on the Hill (Mutli : ములువి వినికి ; Mulwi Winik) is a theatre piece conceived, written, and composed by living idol Chu. The story is that of a Mutulese Golden Boy, Hun Ha, who works in K'alak Muul as an investment banker. Extremely controversial in the Divine Kingdom, the play is infamous for evoking either love or hatred in the critics, with little in-between, because of its transgressive qualities as a modern re-interpretation of the Mutulese theatre' traditional structure.
Plot
Set in K'alak Muul, during the period of liberalisation known by the Mutul during the 80s, The Man on the Hill follow the life of Hun Ha, a Golden Boy employed by an unnamed investment bank. The piece goes through his everyday life, from his recreational life among the bugeoning upper middle class, to his forays into murder by night. The piece maintain a high level of ambiguity through mistaken identity and contradictions : Characters are consistently introduced and re-introduced as people other than themselves, and people argue over the identities of others they can see in restaurants or at parties. Hun Ha himself is consistently mistaken as someone else by other characters, to the point that some Producers have purposefully organized their plays in such a way to imply that Hun Ha does not actually exist and is merely the archetype of the Golden Boy, a mindset shared by many of the characters who believe to be the only Hun Ha.
The Man on the Hill follow the traditional structure of Mutulese' theatre piece : each act present the same scene, each time with a different twist going from a subtle change to a complete reversal of the theme. Act one present Hun Ha night out in town with some of his colleagues and conclude with him murdering one of them, Ja Jun, out of jealousy and then answering his victim's phone. It's his girlfriend, Mo Yt'e, who's coming to pick him up to continue the night with some of their other friends. The second act is almost a repeat of the first, but this time Hun Ha, successfuly pretending to be Ja Jun, spend the night with his Mo Yt'e and her friends. Huna Ha keep mistaking Mo Yt'e various friends as her and confess his murder, but is either not heard or understood. Leaving early, he discuss with a homeless in the street before murdering him. As the piece continue, Hun Ha sanity deteriorates and it become increasingly less clear to the public and himself what's real or not, and who is who. His murders become increasingly sadistic and complex, progressing from simple stabbings to drawn-out sequences of rape, torture, mutilation, cannibalism, and necrophilia. Nonetheless, no matter how many time he return to Ja Jun' appartment to carry his crimes, Hun Ha always find the place clean and the passing janitor even tell him that the room is currently unoccupied. It is unclear whether it's the building' owner who cleaned up the room and covered up the protagonist' crimes, if it wasn't Ja Jun' room and Hun Ha got it wrong, or if he never committed any crime in the first place.
The piece end as it began, with Hun Ha and his colleagues at a new club on a Friday night, engaging in banal conversation. In this final act, there is no murder nor police shootout or any visible sign of madness except the exit sign on the stage being replace by a fake one saying "this is not an exit".