By examining Simona Semenič’s postdramatic onethousandninehundredeightyone, the
author attempts to uncover the specific textual mechanisms that, by diverting from the traditional dramatic conventions (the destabilisation of characters, time, space, action; a non-dramatic external form), shape the new architecture of the textual space. The unconventional writing dictates an unconventional reading. The focus of reading attention
moves from the dialogues to the narration found in the stage directions (didascalies), which (especially with the suggested options) directly encourages the reader/performer to be a co-creative participant in the reading/performing process.
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