338 KB41 KB208 KB5 KB201520252024Toporišič, Tomažštevilka:1letnik:12str. 130-152DOI:10.51937/Amfiteater-2024-1/130-152ISSN:1855-4539COBISSID_HOST:200109571URN:URN:NBN:SI:doc-VI1CAGXPsl= University of Ljubljana PressAmfiteater (Ljubljana)absurdismabsurdizemcontemporary Slovenian dramadeath of characterMilan JesihponavljanjepostdramaticpostdramskorepetitionSimona Semeničsmrt karakterjasodobna slovenska dramaParataktični absurdizem in (ne več) dramska komedija od Jesiha do Semenič in naprej|Within the Slovenian context, dramatic writing has repeatedly returned to the realms of absurdity and grotesque. Lado Kralj highlights this observation in his influential essay “Contemporary Slovenian Drama”, where he asserts that, modernism or one of its streams, namely, the drama of the absurd, gradually established itself in post-war Slovenian drama. This drama stems from the fundamental assumption, incompatible with socialist dogma, that reality is absurd and senseless. Interestingly, authors of such dramatic works often did not perceive themselves as contributors to the theatre of the absurd. They navigated in the direction of a dramatic technique that was simultaneously Gogolesque, absurdist as seen in the works of Daniil Harms and Aleksandr Ivanovich Vvedensky, and surrealist akin to the early plays of Roger Vitrac and his Victor or Children in Power. Moreover, theory, particularly through the lens of the famous historian of Slovenian drama Taras Kermauner, began interpreting it as “ludist” modernism. In the essay, Toporišič examines how the specific forms of carnivalesque and paratactic absurdism that emerged and were developed in some of the most intriguing and complex comedic mechanisms in the works of Emil Filipčič, Milan Jesih, Pavle Lužan, Franček Rudolf and Andrej Rozman Roza have behaved in Slovenian drama in the new millennium. He explores how contemporary absurdist plays – often employing comedic techniques while embracing genre hybridity, including elements of the grotesque – deconstruct the concept of a unified self. Additionally, the author investigates how they blur the line between the real and the fictitious and destabilise subjectivity itself. All of these aspects, as scrutinised by Jure Gantar, who in his essay “The Death of Character in Postdramatic Comedy” evaluates Elinor Fuchs’s terminology and theses regarding the death of character, seem to suggest that “character is also fading away in postmodern comedy” (87)V slovenskem prostoru se je dramska pisava vedno znova vračala k absurdu in h groteski, na kar v svoji temeljni razpravi »Sodobna slovenska dramatika« opozarja tudi Lado Kralj, ko zapiše, da se je v slovenski povojni dramatiki postopno »kot najpogostejša dramska smer uveljavil modernizem oz. eden njegovih tokov, tj. drama absurda, ki izhaja iz osnovne in s socialistično dogmo nezdružljive predpostavke, da je realnost absurdna in nesmiselna« (102). Ob tem avtorji tovrstne dramatike samih sebe velikokrat niso videli kot avtorjev gledališča absurda, ampak so se že od Dušana Jovanovića in njegovih Norcev gibali tudi v smeri dramske taktike, ki je bila hkrati gogoljevsko groteskna, absurdistična kot pri Daniilu Harmsu in Aleksandru Ivanoviču Vvedenskem, nadrealistična kot pri zgodnjih igrah Rogerja Vitraca in njegovem Viktorju ali otrocih na oblasti, teorija pa jo je predvsem s Tarasom Kermaunerjem začela interpretirati kot ludistični modernizem. V prispevku bomo preverili, kako se posebne oblike karnevalskosti in parataktični absurdizem, kot ga bomo delovno poimenovali, kot stalnice nekaterih najzanimivejših in najkompleksnejših komedijskih strojev pri Emilu Filipčiču, Milanu Jesihu, Pavlu Lužanu, Frančku Rudolfu, Andreju Rozmanu - Rozi obnašajo v dramatiki po mileniju pri Matjažu Zupančiču in Roku Vilčniku, Simoni Semenič in Ivi Slosar. Zanimalo nas bo, ali in kako sodobne absurdistične igre, ki velikokrat uporabljajo taktike komedije, ob njej pa v svoji zvrstni hibridnosti (tudi groteske in še česa) razstavljajo pojem enotnega jaza, brišejo mejo med resničnim in fiktivnim ter destabilizirajo subjektivnost samo, kar vse (po Juretu Gantarju, ki v razpravi »Smrt značaja v postdramski komediji« preverja terminologijo in teze Elinor Fuchs o smrti značaja oziroma karakterja) na prvi pogled kaže na to, da »značaj izumira tudi v postmoderni komediji« (87)TEXTznanstveno časopisjejournalsSlovenian National E-content AggregatorNational and University Library of SloveniaSlovenski gledališki inštitut (SLOGI)