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Volume 30 Number 175
  • ISSN: 1318-0509
  • E-ISSN: 2050-957X



The article discusses the characteristics of the theatre of director Jernej Lorenci from his directing of The Oresteia (2009) to The Illiad (2015). It defines Lorenci’s break with his former poetics in the directing of The Oresteia, and finds the new condensation of his directing procedures in The Iliad. In the discussed theatre period, Lorenci seeks the possible lapses, soft slips, the play of the alleged that only constitute the true reality, and is not interested in a well-made play. In his shows, Lorenci believes the man rather than the world; in fact, he acknowledges the world only insofar as it is reflected in the man and is projected out of him. His understanding of the man and his humanity perhaps compares to Agamben’s conception of the man as a being who is infinitely missing himself. The paper illustrates the mentioned thesis by analysing two of Lorenci’s figures from The Iliad.


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  • Article Type: Article
Keyword(s): Agamben; defiguration; Jean-Luc Nancy; Jernej Lorenci; man; The Iliad
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