Exposition in Srđan Tusić’ Dramas

In three Tucić’ dramas, Golgota, differing in style from Povratak and Truli dom, we noticed two basic places of entering the exposition. The first, related to veristic style preferred by Tucić and used in Povratak and Truli dom, is found outside the boundaries of the dramatic text, it is interwoven within the prologue of dramatic plots and sensed through the initial written parts of dramas, i.e. nonentered (supposed).The manner in which it is sensed in the text itself forces us to stratify the exposition in Tucić’ veristic, naturalistic dramatic texts in two layers: 1. Non-entered exposition doubled in the narrative replica of dramatic character (Povratak); 2. Fragmentary noticing of non-entered (supposed) exposition through the scene play (Truli dom). In addition to such stratification, we can observe another compositional-dramatic similarity in the process of creation and enforcing of exposition in Tucić’ dramas. In this case the exposition is evident, the prologue is written in narrative construction, but nevertheless it causes an unusual development in the dramatic plot swiftly rising to culmination, in the very moment when the guidelines for further development of the dramatic plot are given in the beginning of the drama, and only the implied dramatic finale is expected. Such is the case with Tucić’ artistic Golgota, poetically different component of his dramatic opus. In this case, the exposition is close to its initial description in classic dramaturgy and due to that reason we can consider it the entered exposition