247 KB37 KB201520252021Troha, Gašperštevilka:1letnik:9str. 88-120DOI:10.51937/Amfiteater-2021-1/104-120ISSN:1855-4539COBISSID_HOST:68166915URN:URN:NBN:SI:doc-XN4HKMFEenslAkademija za gledališče, radio, film in televizijoDruštvo gledaliških kritikov in teatrologov SlovenijeSlovenski gledališki inštitutAmfiteater (Ljubljana)Birgit HaasCan you hear me?dramatic textdramski tekstMe slišiš?ne več dramski tekstno-longer-dramatic textSemenič, SimonaMe slišiš? Simone Semenič in vprašanje ne več dramske pisave| Can you hear me? by Simona Semenič and question of no-longer-dramatic writing|In the article, the author analyses three plays by Simona Semenič that were published in the book can you hear me? (2017). At first sight, the three pieces appear to be written in Semenič's now-familiar writing style with no punctuation marks or upper-case initials and no apparent division between dialogues and stage directions. Content-wise, however, the three plays differ significantly from the bulk of the playwright's opus as they represent autobiographical texts which once again establish the character and more or less distinct dramatic action. The article focuses on two questions: Are these still no-longer-dramatic texts? And, what is the status of representation and performativity in them? By analysing the formal and content properties of the three texts, more precisely, through an analysis of the drama character, the relationship between dialogue and monologue and dramatic action, the author shows that indeed these texts establish recognisable dramatic characters and relatively strong dramatic action. In this, they move away from no-longer-dramatic texts as defined by Gerda Poschmann, even though their legacy is still very much present, e.g., in the fragmented writing styleRazprava se posveča trem dramam Simone Semenič, ki so izšle v knjigi z naslovom Me slišiš? (2017). Na prvi pogled gre za znano avtoričino pisavo brez ločil in velikih začetnic ter brez očitnega deljenja na didaskalije in dialog, vendar se v vsebinskem smislu bistveno razlikuje od preostalega avtoričinega opusa, saj so to avtobiografska besedila, ki ponovno vzpostavljajo dramsko osebo in bolj ali manj razvidno dramsko dejanje. Razprava se osredotoča na vprašanji, ali gre še za ne več dramska besedila in kako je z reprezentacijo in dogodkovnostjo v njih. Z analizo formalnih in vsebinskih lastnosti besedil, natančneje z analizo dramske osebe, razmerja med dialogom in monologom ter dramskega dejanja, razprava pokaže, da ti teksti vzpostavljajo prepoznavne dramske subjekte in dovolj trdno dramsko dejanje. S tem se odmikajo od ne več dramskih tekstov, kot jih definira Gerda Poschmann, čeprav je njihova dediščina še močno prisotna npr. v fragmentarnem načinu pisanjaTEXTznanstveno časopisjejournalsSlovenian National E-content AggregatorNational and University Library of SloveniaSlovenski gledališki inštitut (SLOGI)