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    STUDIA DRAMATICA - Issue no. 1 / 2010  

Authors:  DARIA IOAN.
  Abstract:  The type of plays written by Jon Fosse seems awash with the post-dramatic creations transiting the cultural European contemporaneousness: lingering, idleness, speech fragmentation, linguistic minimalism, all in specific proportion and various occurrences, participating together in the making of a singular, astoundingly current dramatic universe. Of course, its reception depends, in different countries, of what we may call a constructed national identity, along with its stereotypes. Given our condition of theatre consumer audience, we are often influenced by an irrational belief in the images of what is typical for a national character, even if we are aware of their excessively simplifying and sometimes provoking nature. National stereotypes may form more or less constant elements of the cultural legacy present in the reference system of our daily communication. Such stereotypes and commonplaces have been the subject of endless research on the “national characters”, their conclusions leading to the assertion of the fact that images have an obvious impact on intercultural relationships and on the reception of foreign literature. Thus, for a reliable overall picture of the reception of Jon Fosse’s dramatic work, we believe that a comparative study of its feedback in different countries is very important, focusing on different stages of social-economic and cultural development, or merely different culturally. Undoubtedly, we will confront the issue of the increasingly fast circulation of cultural goods, generating perceptive levelling and, why not, globalisation of the catharsis achieving mechanisms in the Western-European influenced theatrical sphere.

Keywords: Jon Fosse, audience, translation, critical response
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