Foreword by Sanda Tomescu Baciu

Cover image: Ionela Cristina Ciobanu, Entanglement, 2020, acrylic painting

The volume was published in collaboration with Eikon Publishing House

The author's original, interdisciplinary perspective on Jon Fosse's drama is often audacious, but her research is conducted with skill and scientific circumspection. She draws certain metaphorical and intuitive connections between quantum physics and Jon Fosse's drama that later serve as investigative tools for the applied analysis of the selected plays by means of concepts such as entanglement, spacetime and so on. Right from the introduction and the first chapters, the working hypotheses are coherently and boldly correlated with the process of close reading as a chosen method of analysis. (Sanda Tomescu Baciu)

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This book looks at Fosse’s plays as books to read, and the analysis will, in spite of the fact one identifies old themes like love, death, communication, relationships, betrayal, regret, suffering, remembering or childhood in Fosse’s plays, focus on the way one experiences each of these, as the Fosse’an perspective shines a new light on them. It is this sensibility and privilege that the reader is offered and that becomes even more personal as reading progresses. Moreover, when reading, one is connected to one’s past, so a return to the self (past self) happens, which can be an emotional experience. This is the case with any good literature, however, this is even more the case with Jon Fosse, since his literature urges the reader to intervene, to contribute with his/her own rhythm, breath and time in the pauses that are also a reflection on the information acquired and the experience just undergone. (ANAMARIA BABIAȘ-CIOBANU)

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Table of Contents

About Jon Fosse and the Norwegian New Theatre (Foreword by Sanda Tomescu Baciu)

Introduction

JON FOSSE

THEORETICAL PRELIMINARIES

a revolution in science

what is time?

nearness

Bakhtin’s chronotope

ASPECTS OF THE FOSSE’AN DRAMATIC TEXT

the function of silence

the relevance of repetitions

Fosse and the st/age of postdramatic theatre

ceremonies

a poetic dramatic text

space

time

Fosse’an caharacters/ figures

uncertainty and the unknown?

Conclusion

CLOSE READING - THE PLAYS

And We’ll Never be Parted (Og aldri skal vi skiljast)

Sleep my Baby Sleep (Sov du vesle barnet mitt)

Introduction

Sleep my Baby Sleep, the play

Fosse’s characters/ figures

Plot, ceremony or Fosse’an dramatic process

Repetitions and Spacetime in Sleep My Baby Sleep

Space

Time

Text, communication and entanglement

Conclusion on the close-reading of Sleep my Baby Sleep

Fosse’s play Sleep (Svevn)

Shadows (Skuggar)

Introduction

The play

Shadows, figures or Fosse’an characters

Plot, ceremony or Fosse’an dramatic process

Text, communication and entanglement

Repetitions in building Time and Space

Conclusion on the close-reading of Shadows

Sea (Hav)

Introduction

Sea, the play

Fosse’an characters/ figures

Plot, ceremony in Sea

Repetitions and Spacetime in Sea

Text, communication and entanglement

Conclusion of the close-reading of Sea

Conclusion on the chapter

FINAL CONCLUSION

Bibliography

Appendix 1

Appendix 2. My Interview with Jon Fosse, 6th February 2015, Oslo

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ANAMARIA BABIAȘ-CIOBANU, born on July 2, 1987 in Rădăuți, Suceava County, with a PhD in literature, is an author of several Scandinavian articles published in Romania, as well as the translator of the play Shadows by Jon Fosse (Umbre, Casa Cărții de Știință, 2015).
Among the published articles: Language and Identity in Norway (essay, Studia Universitatis Babeș-Bolyai Philologia, vol 58, no.2, pp.167-176, 2013), A Short Example of Jon Fosse’s Dramaturgy. The play "Sov du vesle barnet mitt" (essay, Studia Universitatis Babeș-Bolyai Philologia, vol 59, no.1, pp.87-99, 214), From Ibsen to Beckett: Aspects of the Human Condition (essay, Studia Universitatis Babeș-Bolyai Philologia, vol 60, no.1, pp.133-147, 2015).