ДИСЕНСОТ НА ОПШТЕСТВЕНАТА КОМУНИКАЦИЈА - МОТИВОТ НА ИСЛЕДУВАЊЕТО ВО ЧАШУЛЕВАТА ДРАМАТИКА
Dissent of social communication - motives of investigation in Čašule's drama

Summary/Abstract: The voluminous and versatile body of work by Kole Čašule is known for two key directions in a singular framing of the represented world. This represented world, in fact, is best defined by the author himself through the title of his belated novel So It Is (If That’s How It Seems To You). In another occasion, while referencing the famous playwright of the Elizabethan era, he’ll simply say, As You Like It. Behind the seemingly leisurely ad hoc referencing of the many possible readings and interpretations of the represented world in his work he sets the trap to draw the reader into the abyss of its contradictions (there are as many versions of the truth as there are witnesses!) and insinuations (behind-the-scenes dealings and reworkings of situations/reality). Henceforth, the total narrative world of Čašule’s dramatic and narrative work is in fact quite dramatic: it comes through the dramatic tension of the opposing voices which lead the story to its multifarious culmination. Along those lines, the represented world in the work of Čašule corresponds with the worlds of the great playwrights of the conflict between reality and fiction in modern drama: together with Luigi Pirandello’s ‘naked masks’ and Yukio Mishima’s schizophrenically split reality in the modern Noh-Plays. With that, the focus of Kole Čašule’s dramatic world are the ideological and political aspects of not being able to distinguish between reality and fiction. The basis for the dramatic conflict in the works of Čašule is contained in the split of the hero, between the planes of reality and fiction (a simulation of reality). In fact, it seems that in his works reality disappears entirely, at the cusp of its fictionalization through a series of fabricated scenarios. It bears no relevance whether he deals with the re-working of the immigrant theme (An Empty Gourd, Home-bounders) or a thematization of the totalitarian regime (Whirlwind, A Musical Score for a Miron, A Divertissement for a Strez), or a play or novel that refer to Macedonian national history (Darkness, Judgment, Standing Upright, So It is (If That’s How It Seems To You), the basis for the dramatic plot is always focused on the confrontation and blurring of the planes of reality and its fabricated and constructed forgery (simulation). In his plays, Čašule reveals the hidden, behind-the-scenes, directorial insinuations of the dramatic events of existence. Thus, the work of Čašule discloses the drama of existence as the drama of man’s absolute uncertainty within reality, which does not distinguish itself from its numerous simulacrums – directed at the hands of totalitarianism (A Musical Score for a Miron, A Divertissement for a Strez), political terrorism (Darkness) or the official scene of social interaction (An Empty Gourd…).

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