Me slišiš? Simone Semenič in vprašanje ne več dramske pisave

Povzetek

Razprava se posveča trem dramam Simone Semenič, ki so izšle v knjigi z naslovom Me slišiš? (2017). Na prvi pogled gre za znano avtoričino pisavo brez ločil in velikih začetnic ter brez očitnega deljenja na didaskalije in dialog, vendar se v vsebinskem smislu bistveno razlikuje od preostalega avtoričinega opusa, saj so to avtobiografska besedila, ki ponovno vzpostavljajo dramsko osebo in bolj ali manj razvidno dramsko dejanje. Razprava se osredotoča na vprašanji, ali gre še za ne več dramska besedila in kako je z reprezentacijo in dogodkovnostjo v njih. Z analizo formalnih in vsebinskih lastnosti besedil, natančneje z analizo dramske osebe, razmerja med dialogom in monologom ter dramskega dejanja, razprava pokaže, da ti teksti vzpostavljajo prepoznavne dramske subjekte in dovolj trdno dramsko dejanje. S tem se odmikajo od ne več dramskih tekstov, kot jih definira Gerda Poschmann, čeprav je njihova dediščina še močno prisotna npr. v fragmentarnem načinu pisanja.

Ključne besede

Me slišiš?;ne več dramski tekst;dramski tekst;Birgit Haas;Semenič;Simona;1975-;

Podatki

Jezik:	Slovenski jezik
Leto izida:	2021
Tipologija:	1.01 - Izvirni znanstveni članek
Organizacija:	UL AGRFT - Akademija za gledališče, radio, film in televizijo
UDK:	821.163.6.09-2
COBISS:	68166915
ISSN:	1855-4539
Št. ogledov:	52
Št. prenosov:	11
Ocena:	0 (0 glasov)
Metapodatki:

Ostali podatki

Sekundarni jezik:	Angleški jezik
Sekundarni naslov:	Can you hear me? by Simona Semenič and question of no-longer-dramatic writing
Sekundarni povzetek:	In the article, the author analyses three plays by Simona Semenič that were published in the book can you hear me? (2017). At first sight, the three pieces appear to be written in Semenič's now-familiar writing style with no punctuation marks or upper-case initials and no apparent division between dialogues and stage directions. Content-wise, however, the three plays differ significantly from the bulk of the playwright's opus as they represent autobiographical texts which once again establish the character and more or less distinct dramatic action. The article focuses on two questions: Are these still no-longer-dramatic texts? And, what is the status of representation and performativity in them? By analysing the formal and content properties of the three texts, more precisely, through an analysis of the drama character, the relationship between dialogue and monologue and dramatic action, the author shows that indeed these texts establish recognisable dramatic characters and relatively strong dramatic action. In this, they move away from no-longer-dramatic texts as defined by Gerda Poschmann, even though their legacy is still very much present, e.g., in the fragmented writing style.
Sekundarne ključne besede:	Can you hear me?;no-longer-dramatic text;dramatic text;Birgit Haas;
Vrsta dela (COBISS):	Članek v reviji
Strani:	str. 88-102, 104-120
Letnik:	ǂLetn. ǂ9
Zvezek:	ǂšt. ǂ1
Čas izdaje:	2021
DOI:	10.51937/Amfiteater-2021-1/104-120
ID:	23118350