Resničnostni šov in razkritje manipulacij v drami Hodnik Matjaža Zupančiča

V diplomskem delu sem ugotovila, da lahko med dramskim delom Hodnik, ki posnema formo resničnostnega šova, in živalskim vrtom potegnemo vzporedniceoba postavljata primerke oziroma posameznike na ogled in uporabljata spektakelske prisile. Posamezniki v dramskem besedilu so predstavljeni glede na svoje najbolj opazne lastnosti. Tudi prostor dogajanja je izbran tako, da z udeleženci manipulira. Samo na hodniku so \u27oni sami\u27, čeprav se sprašujejo ali na hodniku res ni kamer. V dramskem delu organizatorji igre manipulirajo z udeleženci resničnostnega šova, oboji pa manipulirajo z gledalci, ki v dramo niso vključeni. Hodnik nam to lahko pokaže, ker je fikcija in ne \u27pravi\u27 resničnostni šov.In my bachelor paper, I concluded that we could draw parallels between the play Corridor, which imitates the form of reality show, and the Zooboth are putting individuals on display and are using constraint of spectacle. Individuals in play are presented according to their most noticeable characteristics. The narrative place is chosen in a way that it manipulates with participants. Only in the corridor, they are \u27themselves\u27, although they are questioning absence of cameras in corridor. In the play, the organizers of the game manipulate the participants of the reality show, and both manipulate the viewers, which are not included in the play. The corridor can show us this manipulation because it is a fiction and not a \u27true\u27 reality show