{"id":3880,"date":"2024-10-20T15:07:39","date_gmt":"2024-10-20T15:07:39","guid":{"rendered":"https:\/\/greek-theatre.gr\/article\/oblivion-and-four-other-monologues\/"},"modified":"2024-10-22T11:25:19","modified_gmt":"2024-10-22T11:25:19","slug":"oblivion-and-four-other-monologues","status":"publish","type":"article","link":"https:\/\/greek-theatre.gr\/en\/article\/oblivion-and-four-other-monologues\/","title":{"rendered":"Oblivion and Four Other Monologues"},"content":{"rendered":"<p>Five voices, bodies, mouths. They speak. Five times they start and five times they finish; and every time is the first time; and every time is the last time. They start in order to speak, and finish to never speak again. In-between, they talk as if they are given the floor for the last time. Every single word is uttered in definitive way; offered, never to return to the speaker. It is as if the speaker is aware \u2013 and, indeed, he is \u2013 that with every word he utters, his ability to talk disintegrates. This is the reason why every single word is spoken as if being the last one.<\/p>\n<p>Four monologues; &#8220;Loss&#8221;\/&#8221;Memory&#8221;\/&#8221;Repentance&#8221;\/&#8221;Art&#8221; and &#8220;Oblivion&#8221;:<\/p>\n<p>&#8220;This is my story. Battles, and then nothing. Cities, and then nothing. Nothing remains. Everything comes and goes [&#8230;] I\u2019m only starting. Listen to me. I come from nowhere &#8220;.<\/p>\n<p>No memory. Oblivion is the biggest possible opening, one that discards every safety valve; man speaks in the present tense for existential possibilities, putting a definite emphasis on the here and now. The body, a carrier of his history, liberates him from the shackles of the imposed thinking regarding the confirmation of his presence, leaving open the possibility of a new beginning. It is a monologue open to varying interpretations, but with a definite directive from the author: man starts speaking, and ends to never speak again.<\/p>\n<p>The play has been translated into French, German and Portuguese.<\/p>\n<p>Oblivion and Four Other Monologues<\/p>\n<p>Flexible<\/p>\n","protected":false},"template":"","format":"standard","categories":[11],"class_list":["post-3880","article","type-article","status-publish","format-standard","hentry","category-essays"],"_links":{"self":[{"href":"https:\/\/greek-theatre.gr\/en\/wp-json\/wp\/v2\/article\/3880","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/greek-theatre.gr\/en\/wp-json\/wp\/v2\/article"}],"about":[{"href":"https:\/\/greek-theatre.gr\/en\/wp-json\/wp\/v2\/types\/article"}],"version-history":[{"count":0,"href":"https:\/\/greek-theatre.gr\/en\/wp-json\/wp\/v2\/article\/3880\/revisions"}],"wp:attachment":[{"href":"https:\/\/greek-theatre.gr\/en\/wp-json\/wp\/v2\/media?parent=3880"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/greek-theatre.gr\/en\/wp-json\/wp\/v2\/categories?post=3880"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}