Simona Semenič    


Year of writing: 2013
It starts with a pool of blood. Nineteen eighties. And then it all starts spinning. The pool of dry blood disappears. Which world is better? The one we are living in, the one we’ve lived through or the one that’s still to come?
Total cast size: 8–29 (5–9 f, 3–20 m)

+ an oblong being, the voice of jožica

drama, fragmented dramaturgy, time-lapses, location- and identity-switches
nostalgia, historical topic, disintegration of community

The story unites and disunites two time periods: one when in a homeland of “order and hard work” forces were joined in concord, everyone swore by Tito’s honour and believed in packed factories and true comrades, and a second one, the current one, where a promise is no guarantee, where swords of power are being swung only by self-sufficient arrogant individuals who are selling the country’s infrastructure for pennies, this same infrastructure that used to belong to the people, whilst the workers are collateral damage of tycoon business deals, left empty-handed, with not faith, no future, no bread. These are small stories from a small town or how we once believed that we are opening a gate into “another Switzerland” or a Balkan never-never land, but what we got is a box of chocolates, wrapped left and right and all across, but mouldy and smelly and full of worms.


here, see, here, there’s till blood


edo, chess player in the café, erik’s brother

but did you see the accident or just this corpse



just the corpse

here, see, was the head, and he was lying like this and i didn’t see that well, but it seemed he was missing half a face


edo, chess player in the café, erik’s brother

hell, awful

but look, it’s no big deal, people die every day

Barbara Skubic


Language of translation: English

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