Simona Semenič    

you are a miracle

Year of writing: 2018
"no longer young girl I finally knock her to the ground”
Total cast size: 18 (13 f, 5 m)

grown-ups

drama
stereotypes, breaking dramatic conventions, destiny, relationships, female perspective

The author approaches Don Juan, this time called a solid Slovenian name, Janez, from the point of view of his “seducees” and the consequences of his actions which all come together in one single moment, one single heartbeat. In a moment needed for a body to slip off a bed and hit the hard floor.

Any use or reproduction of all or any part of this text without the written permission of the author is strictly prohibited. 

For the author's contact please write to sigledal@gmail.com.

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Awards, nominations, shortlists and recommendations

Nomination for Slavko Grum Award

Patiently, all the way to the end, to the last breath, everyone, including the reader / spectator hope for a miracle. Because only a miracle can save the young woman brought to the hospital after suffering an injury in a traffic accident. For her, the miracle was that she was going to go on a date. And generally, all the women involved are less invested in saving her than they are in their dates or in expecting a miracle. Because dates are miracles, too, when it comes to Janez. His name is generic, of course. He has the most beautiful cock in the world, says one of the witnesses. They are all obsessed with it and there are veiling mysteries at the clinic during the accident and everyone’s expectation of a miracle. This is a play about the interwoven fates of women and their desires, about abuse, about exhaustion of the material and about evanescence which is emphasized by the place where the action is set: the emergency department of a hospital. The play contains a fair deal of alienation: here is a young girl who introduces herself to us from the line dividing life and death, and here is also a voice of a slightly older female narrator, the one who is constantly falling off her bed to the ground and to being grounded. With all this, time strands are jumbled: what has happened and what is about to happen is all squashed into one. Time pockets are created, some of them direct us to a conveyor belt in a poultry slaughter-house which becomes a metaphor for our barren and replicable instincts. The play openly speaks of the female desire, this is a speech of lustful women about the one who connects them all because he has a universal key to their hearts and what surrounds them, their bodies. The script comes close to trivial clichés, a mixture of different speech patterns is noteworthy. It is portrayed by using dialect that distinguishes the speakers and deepens their characterisation. A soft and fantastic sliding through different time periods and situations shows inner psychological processes of the people involved; these have been worshipping the object of their desire; they are liberated and unstoppable. Actually, the only thing stronger than lust and libido, is death.

2020

Play's productions

Directed by: Tomi Janežič

še ni naslova

Slovensko mladinsko gledališče, 2018

Other scripts by this author