Scene: "The Guardians" at Kulturhuset Stadsteatern

The first took place 463 years before Christ. It is fascinating that one of the oldest theatrical texts in the world thematizes the culture of hatred and rape of women, refugee politics and their integration.

Theytoocould you say about the ancient Athenians? "Protection seekers" reduce 2,500 years to a difficult question: If we are not ready to answer in the affirmative when they have threatened and persecuted security and protection, what kind of society are we then?

"And until the swords are fired and damage is done, every foreigner must also obtain his contractual right," as Emil Zilliacus calls this classic interpretation of Aischilo's text. As a drama, "Protection seekers" are about to embryo. But as a song about the man in the world, the piece has nothing of antiquity.

Aischylos is this the oldest of the tragic Greek worshipers. He has written a large number of theatrical texts, seven of which have been preserved, among which are the three plays that together make up the Orestien. The weather Aischylos seemed to be warlike and brutal, he participated in the Battle of Marathon and the Battle of Salamis. It is no less strange and admirable that the argument of "The Protection Applicants" is based on the idea of ​​a "universal" cross-border human value (justified here by a common relationship with Zeus with the Divine).

There is no tense anachronism, no irresistible stick directed towards our contemporary, no rubber floats and no lifejacket

Fifty women, all with the same father threatened with forced detention with their cousins, are flying from Egypt, "Syria border", crossing the sea to get to the Greek city of Argos. There, the king of the Argos, King Pelasgos, prays for his protection. This is the intrusion. Not much to do TV shows.

When Dritëro Kasapi, admiral Head of the national theater, he now installs "The Guardians" on the small stage of the Stockholm Municipal Theater. He chooses to make an aesthetic, perhaps as ethical, of the external stationary action process. Seven actors, five women and two men, got behind a kind of school benches. Everyone has an olive branch, the sign of the asylum seeker. Nine female actors of the video of the Palestinian theater Al-Harah in each box of projection.

Together, those who are here and those who are there are those who defy time and space and who speak and sing in Swedish, Arabic and finally in English (the Abba song "I have a dream") on this who unites, not only who separates.

The performance is based on a treatment of Aischilo text, directed by Scottish playwright David Greig. But there are no tense anacronisms, no irresistible sticks directed against our contemporary, no rubber floats or life jackets. Aischylos poetry has instead been integrated into a very charged educational play about the piece played with the public and allowing students to play.

But the whole and The whole thing manages to stay on the right side of the mess. Obviously, you yearn for the ancient power of ancient poetry. And when Per Sandberg stands out from his audience and King Pelasgos convinces himself that it is his duty to invite the inhabitants of Argos to open their hearts and the gates of their city, you feel a growing desire for politicians who today, dare to pay what it costs to defend the basic humanity, after a courageous enough democracy to say yes instead of no.