Strukturiranje resničnosti v Hodniku in Igri s pari Matjaža Zupančiča s pomočjo postopka igre v igri

V diplomskem delu podrobneje obravnavamo drami Hodnik in Igro s pari Matjaža Zupančiča, v katerih nas zanima predvsem način strukturiranja resničnosti. Slednja je grajena s pomočjo postopka igre v igri ali njej podobnimi postopki. Igra v igri je na začetku podrobno definirana skozi poglede Joachima Voigta, teoretika, ki je postopek natančno opredelil in razdelal, ter Barbare Orel, ki nekatere njegove domneve zavrača in jih nadgradi glede na potrebe sodobne dramatike. V nadaljevanju nas zanimata drami. V Hodniku je izpostavljena problematika resničnostnih šovov, pomen hodnika, ki se odraža kot simbol in dejanski prostor ene izmed ravni resničnosti, ter jezik, ki nekatere like ločuje od večine. Nato nas zanimata odraz postopka igre v igri ter pomen manipulacije, ki sam postopek soustvarja. Primerjava teorij Joachima Voigta in Barbare Orel pokaže, da je slednja ustreznejša, saj igro v igri definira tudi kot intermedialni pojav. Igra s pari opozarja zlasti na krizo vrednot, ki jo je mogoče s pomočjo člankov Janeka Muska utemeljiti na primerih drame. Izpostavljene vrednote, na katere se liki največkrat sklicujejo, namigujejo na globlji pomen, ki se skriva v teh navedbah. Ob poskusu utemeljitve postopka igre v igri se izkaže, da je slednjo nemogoče dokazati zaradi pomanjkanja prvega in drugega fiktivnega nivoja. Igra s pari je namreč analitična drama, kjer se pretvarjanje dveh izmed likov lahko v nekaterih elementih približa postopku igre v igri oz. spominja nanj.In the thesis we discuss in detail the two dramas Hodnik and Igra s pari, written by Matjaž Zupančič. We are interested in the way of structuring the reality. The latter is built with the procedure of the "play within the play" or its similar procedures. "Play within the play" is defined by Joachim Voigt, the theoretician, who explained and elaborated on it, and also Barbara Orel, who rejects some of his claims and builds on them according to the needs of the contemporary dramatics. In the continuation we are interested in the two dramas. In Hodnik, there is an issue of the reality shows, the meaning of the hall, which is the symbol and the actual area one of the levels of the reality, and the language, which separates some of the characters from the rest of them. We are also interested in the reflection of the procedure of "play within the play" and the importance of manipulation, which co-creates the procedure itself. The comparison of the two theories of Joachim Voigt and Barbara Orel shows that the latter is more suitable, because it defines the "play within the play" as the intermedium phenomenon. Igra s pari warns us about the crisis of the values, which can be explained with the help of the articles written by Janek Musek and can be found in the examples in the drama. The exposed values, which can be applied to the characters, allude to the deeper value, which can be found in these examples. When we try to explain the procedure of the play, it seems that it is impossible to prove it due to the lack of the first and the second fictional level. Igra s pari is an analytical drama, where the pretence of the two characters can come close to the procedure of the play in some elements or at least it resembles it