a horrible grimace. It makes him look 1 1 deadly 6 tiredness as if he's constantly screaming in 1 1 what 6 their 2 nutritional 7 depression terror. The other thing is that his body 2 was / were 7 less 3 convenient 8 harmless was buried without any markings or 3 being 8 both 4 addictive 9 attention adornments alongside some of the 4 only 9 like most famous pharaohs. His hands 5 fatty 10 growth 5 make 10 whose and feet were bound at the time of 2 1 through / round / in his death and his unmarked coffin 2 1 outraged 6 analysis 2 keep
Influences from Western psychoanalysts, absurd theatre and surrealism became obvious together with radicalisation in expression (Mati Unt, Jüri Üdi). The war theme still persisted. Raimond Kaugver (1926-1992) exposed the complicated path of his hero through occupations, deportation to Siberia and the less than sincere wellbeing of Soviet times in Nelikümmend küünalt (Forty Candles). Reflections on the future of Estonia, and nonsensical episodes from collective farm life without adornments were described by Heino Kiik (b. 1927) in Tondiöömaja (Ghosts’ Lodging). In Estonian drama, reaching a break from the past and heading to modernisation can be observed, first of all in Theatre Vanemuine in Tartu where Jaan Tooming (b. 1946) and Evald Hermaküla (1941-2000) were active. Play, myth and ritual were interpreted as turning back to the primary vital sources. As a milestone on this path, Tuhkatriinumäng (Cinderella Game, 1969) by Paul-Eerik Rummo is outstanding. The
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