Neurocognitive studies of literature show the existence of a link between the empathy which we feel for fictional characters and the influence of that experience on our day-to-day empathic capabilities. On the case study of three dramas by the creative duo of Katarina Morano and Žiga Divjak, taking into account both the texts as well as their stage renditions, I will attempt to showcase the means by which a successful empathic reaction is provoked. The three dramas form a continuous gradation of a sympathy narrative, first relating to arbitrary individuals ranging from various societal classes, then to a family unit acting as a building block of society, and lastly to nature with which we are connected into a network of living organisms, forming a society in the broadest sense. In their projects Katarina Morano and Žiga Divjak seek different means of expression (both through words as well as directing) with which they inspire the reader or viewer into empathising with the faiths of others and ignite rebellion against passive helplessness by taking up an active position in the society, opening up a possibility of an issue presented through theatrical form applying to a similar situation in the real world.
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