Absurd kot sodobna oblika tragične izkušnje v Šumiju Petra Božiča

V svetovnem gledališču 20. stol. sta prevladovali dve inovatorski smeri: epsko gledališče in gledališče absurda. Drame Petra Božiča je Taras Kermauner uvrščal v nihilizem, ki temelji na popolnem zanikanju vrednot, česar pa za Božičeve drame ni mogo~e v celoti trditi. Božič postavlja pod vprašaj smisel vrednot. Vrednote tako obstajajo skozi svoj manko, zaradi česar je drame mogoče uvrstiti v bližino tragedije - taka je Božičeva zadnja igra Šumi. Podrobna primerjava s Sofoklovo Antigono skuša dokazati vzporednice med besediloma in s tem sodobni tekst razložiti s pomočjo absurda kot vrhunca sodobne tragedije.In the theatre of the 20th century, there were two dominant innovatory directions: epic theatre and the theatre of the absurd. While Taras Kermauner classified the dramas of Peter Božič as nihilism, it is possible to assign values to them, even though they exist through their absence. Because of that, these works enter the domain of tragedy. Such is, in particular, Božič\u27s last play Šumi. A detailed comparison with Sophocles\u27 Antigone attempts to draw parallels between the texts and, hence, to explicate the contemporary text through the absurd as the modern pinnacle of tragedy