Only the End of the World after the text written by Jean-Luc Lgarce, is a play of ’social contracts’, their ’unsuccessfulness’ which is performed in front of/for the audience. The staging is based on speech mechanisms, behavioral matrices, that are offered as a more powerful motive power than the very motivation of characters. In the classical theatrical sense, the play is elusive, it remains unuttered, in indications or traces, in jerks, while what persists is the social order.

The staging of this play is founded on the principles of post-dramatic theatre (Lehmann), primarily of ’omitted interpretation’, that is ’abated semiotics’. The centre of the ’event’ is shifted from the stage into the field of dynamic communicational exchange between the stage and the audience, vision is activated, the spectator is the one who brings the performance to a close, the play demands constant ’framing’ with one’s eyes.

The procedure of the team of authors of the play The Very End of the World conveys a serious intention to re-articulate the local theatrical space, primarily to question the dominant ’presentation’ model, the ideology of an orderly micro-entity, along with closed social identities. A structure open to reading, disfunctional and inappropriate is offered instead.

Vlatko Ilic