2177 KB27 KB197820252019Troha, Gašperštevilka:1letnik:42str. 37-48ISSN:0351-1189COBISSID:69703266URN:URN:NBN:SI:doc-X6HCVFJIslSlovensko društvo za primerjalno književnostPrimerjalna književnostJovanović, Dušan: Vojaška skrivnostknjiževnost in družbapolitično gledališčeSemenič, Simona: tisočdevetstoenainosemdesetsocializemsodobna slovenska dramatikaDružba v slovenski dramatiki pod socializmom in danes| primer dveh dram Dušana Jovanovića in Simone Semenič|The article compares two dramas by Dušan Jovanović and Simona Semenič. The first is Military Secret (1983) and the second nineteeneighty-one (2013), both describing the last decade of socialist Yugoslavia. What strikes us as odd is the fact that the image of socialist society in both texts differs to quite an extent. Jovanović describes it as a radical dystopia in the form of the drama of the absurd, and Semenič as a utopian or nostalgic image of an epoch when ethics was still present in human relations. However, the analysis shows that Semenič is using this image of socialism to emphasize the dystopia of the modern neoliberalism of contemporary Slovenia. Furthermore, she uses an innovative form of montage with dream-like flash-forwards into the future, to provoke the reader's/viewer's emotions and her intellectual response. She unsettles reception in the manner of post-dramatic theatre as understood by Hans Thies Lehmann in order to build her social criticism of contemporary human condition. Jovanović, on the other hand, camouflages his social critique in the form of the theatre of the absurd. He sets it in a zoolinguistic institute where animals enact some of the absurd patterns of self-government (e.g. an election process with only one candidate, constant search for compromise, an impossible economy). Military Secret was a result of the special position of Slovenian theatre in the 1980s when theatre was understood as a social forum, a place where dissident ideas could be discussed. nineteeneighty-one echoes a different social situation, in which we are constantly bombarded with information in a mediatised world. In this new reality, an author needs to invent new forms in order to stimulate an emotional and intellectual response that will be able to convey the social critique of a theatrical pieceRazprava primerja dve drami, Vojaško skrivnost Dušana Jovanovića (1983) in tisočdevetstoenainosemdeset Simone Semenič (2013), katerih dogajanje je postavljeno v zadnje desetletje nekdanje Jugoslavije in socializma. Kar je nenavadno, je dejstvo, da je Jovanovićeva drama označena kot radikalna distopija, besedilo Semenič pa deluje kot nostalgična utopija oz. potrditev socialističnega družbenega sistema. Analiza pokaže, da je prvi vtis zavajajoč, saj Simona Semenič omenjeno utopično podobo socializma uporabi zato, da prikaže distopično podobo sodobne slovenske družbe, ki jo zaznamuje neoliberalizem. Uporablja inovativno dramsko tehniko z izskoki v prihodnost, s katerimi gradi gledalčev/bralčev čustveni odziv in ga prisili v razmišljanje. Uporablja torej manipulacijo recepcije v smislu post-dramskega gledališča, kot ga definira Hans Thies Lehmann, da bi prikazala kritiko sodobne družbe. Jovanović na drugi strani skrije svojo družbeno kritiko v obliko drame absurda. Dogajanje postavi v zoolingvistični laboratorij, kjer živali delujejo po nekaterih absurdnih vzorcih samoupravljanja (npr. volitve z enim samim kandidatom, nenehno iskanje kompromisa, nemogoče gospodarske razmere). Vojaška skrivnost je tako posledica posebnega položaja slovenskega gledališča v tedanji Jugoslaviji, kjer je bilo slednje razumljeno kot družbeni forum, na katerem se je preverjalo alternativne družbene ideje. tisočdevetstoenainosemdeset odseva drugačen položaj v mediatiziranem svetu, v katerem smo nenehno bombardirani z informacijami. Tako je avtor prisiljen iskati nove načine, s katerimi lahko spodbudi sprejemnikov čustveni in mentalni odziv ter tako izrazi svojo kritiko sodobne družbeTEXTznanstveno časopisjejournalsSlovenian National E-content AggregatorNational and University Library of SloveniaSlovensko društvo za primerjalno književnost