605 KB40 KB197820252017Pezdirc-Bartol, Matejaštevilka:2letnik:40str. 165-180ISSN:0351-1189COBISSID_HOST:64630114URN:URN:NBN:SI:doc-ZATSRVELslSlovensko društvo za primerjalno književnostPrimerjalna književnostdidaskalijedramatic formdramska formagledalecliteratura in etikaliterature and ethicspostdramatic theatrepostdramsko gledališčeSemenič, Simona, 1975-Slovene dramaslovenska dramatikaspectatorstage directionsSpecifičnost dramske forme in etična vprašanja v dramatiki Simone Semenič|The paper deals with three no longer dramatic texts (Poschmann) by Simona Semenič, namely the feast or the story of a savory corpse or how roman abramovič, the character janša, julia kristeva, age 24, simona semenič and the initials z. i. found themselves in a tiny cloud of tobacco smoke; sophia or while i almost ask for more or a parable of the ruler and the wisdom and 7Cooks, 4Soldiers, 3 Sophias. The main characters in all three texts are bullied and abused women, victims of religious and political wars as well as of patriarchal paradigms and enforced social roles. Their stories are based on true stories and then set within a timeless fictional frame in their fragmentary form. Characteristic of Simona Semenič's writing is the subversion of traditional reading conventions which involves the reader more closely into the decoding of the text and its interpretation. The division between the dialogue and stage directions disappears as stage directions become more than mere directions and their narrative function is emphasized. It is therefore necessary that the addressee of the text reconsiders basic relations within it, who speaks and to whom, what is the position of the author, of the dramatis personae, and their own position. The reader/spectator is more emotionally and cognitively involved in the plot and thus becomes to a greater degree a participant, and consequently responsible for the state of the society. Simona Semenič uses innovative textual strategies to achieve an artistic impact and to open up ethical aspects through a universal perspective. Even though she violates dramatic conventions, she at the same time relativizes and revitalizes them, and her new textual strategies are closely tied to the problems of reception and the power of the theatre todayČlanek analizira tri ne več dramska besedila (Poschmann) Simone Semenič, to so zgodba o nekem slastnem truplu ...; medtem ko skoraj rečem še ... ter sedem kuharic, štirje soldati in tri sofije. Glavne osebe vseh treh del so trpinčene in zlorabljene ženske, žrtve verskih in političnih vojn ter patriarhalnih vzorcev in vsiljenih družbenih vlog. Usode žensk so povzete po resničnih osebah in so fragmentarno postavljene v brezčasen fikcijski okvir. Za pisavo Simone Semenič je značilno spodkopavanje ustaljenih bralnih konvencij, s čimer tesneje vključi bralca v proces dekodiranja in interpretacije besedila. Delitev na glavno in stransko besedilo je presežena, saj didaskalije preraščajo uprizoritvene napotke in postajajo enakovreden del besedila, izpostavljena pa je njihova narativna funkcija. Naslovnik dramskega besedila mora tako za posamezni tekst premisliti temeljna razmerja, kdo govori in komu govori, s tem pa tudi status avtorja, dramskih oseb kot tudi svojo lastno pozicijo. Bralec/gledalec je emocionalno in kognitivno tesneje vpet v dogajanje in tako postane v večji meri tudi soudeleženec in posledično soodgovoren za stanje v družbi. Simona Semenič z inovativnimi besedilnimi strategijami doseže umetniške učinke in razpre etične vidike skozi univerzalno perspektivo. Čeprav krši temeljne dramske konvencije, jih v metadramski obliki hkrati relativizira in revitalizira, nove besedilne strategije pa so kar najtesneje povezane z vprašanji recepcije in moči gledališča danesTEXTznanstveno časopisjejournalsSlovenian National E-content AggregatorNational and University Library of SloveniaSlovensko društvo za primerjalno književnost