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ISSN 1409-6900 | UDK 82+7     Blesok no. 112 | volume  | March-April, 2017



                     Peer-reviewed journal
Blesok no. 112March-April, 2017

Love as Post-Market Category

p. 1
Dimoski Sašo


(In the Solitude of Cotton Fields, Bernard-Marie Koltès)

A deal is a commercial transaction that pertains to prohibited or strictly controlled values and takes place in neutral spaces, undefined and not meant for this usage.

Bernard-Marie Koltès, In the Solitude of Cotton Fields

The post-market ethics and esthetics, understood from the aspect of the autoreferentiality of the subject which is directly involved in the market as topos, is articulated with many meanings and mutlimedially, thus not avoiding theatre as a medium, i.e. play as a performative category on one hand and as a language system on the other.
    Staring from the impossibility of the existence of innocence of the language - with Roland Barthes’s terminology, via the paradigms of post-market ethics and esthetics, Bernard-Marie Koltès creates the world of relations between his characters via the voluptuous dramaturgy of the dramatic text. “In the Solitude of Cotton Fields”, starting from the broad understanding of consumerism as the main narrative tool, i.e. the language of drama theory – the performative character of the dramatic text, or, best said – the reason for action: le deal.
    The dramatic structure of the text is (seemingly) very simple: a duet between the Dealer and Client in a sales, trade dialogue which can be interpreted (read and understood) as a constant encounter of two monologues, two inner voices that touch and repel each other, as if they are two poles of a magnetic needle, warning about the danger that they bring: the threat that escalates to a conflict (assumed, felt) because of the impossibility to reach an agreement, to buy and sell, to make the transaction[1], to be part of the market as equitable exchange of experience and possessions. However, it is only the linguistic material of the text which further on creates the contexts that are the subject of this speculation about Koltès’s play.
    The political background which tackles the global market in Koltès’s text is only the first axis that the action rotates around: criticism of the global order and free market that destroys the borders between the conditionally independent actors that make it and which in the end (have to) surrender to the will of the stronger, the Master, and even the Oxidant – with Said’s terminology, subdue to the extent of their own (again – assumed and sensed, because of the innocence of the language) disembodiment. In this criticism of consumerism, Koltès does not


1. As Koltès also writes in the introductory didascalia of the dramatic text: The deal is a commercial transaction.

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