273 KB0 KB201520252022Zajc, Benjaminštevilka:1letnik:10str. 272-286DOI:10.51937/Amfiteater-2022-1/272-286COBISSID_HOST:114044163ISSN:1855-4539URN:URN:NBN:SI:doc-EPZJG26FslSlovenski gledališki inštitutAmfiteater (Ljubljana)21st-century dramaDino Pešutdramatic textdramatika 21. stoletjadramsko besediloGorana BalančevićIza Streharmilenijska literaturamillennial literatureSubstanca milenijske dramske pisave v našem prostoru|n Slovenia, Croatia and Serbia, 21 st -century playwriting is strongly marked by the arrival of the millennial generation. If the older generation of playwrights was preoccupied with the memory of wars, questioning of collective guilt and condemnation of past political entities, and if the established contemporary dramatic corpus is expanded by questions of lost identity, feminism and critique of society, the millennial generation further complicates its dramatic construction with apprehension about globalisation and cultural erasure. As argues Stephan Dark, this gives their work a neo-miserabilist character. In millennial playwriting, which is less burdened by the events of the last century and more marked by the recent economic crises, we can observe even less optimism and utopian imagery. Instead, nihilism and cynicism prevail. Their material is self-referential and creates a world that corresponds to their own present. There is a particular focus on the individual’s attitude towards survival in an oppressive, corrupt and dysfunctional system, the individual’s search for meaning, related feelings of alienation and the inability to communicate. Through a selection of plays, this paper reflects on the key themes, the form and the atmosphere of millennial playwriting, which seems to be more marked by the uncertainty of the status quo than any previous generationDramatika enaindvajsetega stoletja je v našem prostoru močno zaznamovana s prihodom milenijske generacije. Če je bila starejša generacija dramatikov prežeta s spominom na vojne, s preizpraševanjem kolektivne krivde in obsojanja preteklih političnih entitet ter če sodobni uveljavljeni dramski korpus na to pripenja še vprašanja izgubljene identitete, feminizma in kritiko družbe, pa milenijska generacija svojo dramsko gradnjo še dodatno oteži s strahom pred globalizacijo, kulturnim izbrisom in neomiserabilizmom, kot to imenuje Stephan Dark. V milenijski dramatiki, manj obremenjeni z dogodki prejšnjega stoletja in bolj zaznamovani z gospodarsko krizo z začetka novega stoletja, lahko opazimo še manj optimizma, manj utopičnih podob in več nihilizma ter cinizma. Njen dramski material je usmerjen sam vase in ustvarja svet, ki ustreza lastni sedanjosti. Tu gre predvsem za odnos posameznika do preživetja v zatiralnem, pokvarjenem in nefunkcionalnem sistemu, za posameznikovo iskanje smisla, odtujenost in nezmožnost komunikacije. Ob izbranih dramskih besedilih prispevek razmišlja o ključnih tematikah, formi in atmosferi dramatike milenijske generacije, za katero se zdi, da je bolj kot katera koli pred njo zaznamovana z negotovostjo statusa quoTEXTznanstveno časopisjejournalsSlovenian National E-content AggregatorNational and University Library of SloveniaSlovenski gledališki inštitut (SLOGI)