出版社：Hrvatska akademija znanosti i umjetnosti i Književni krug Split
摘要：Kako je tekst Matišićeva dramskog ciklusa Moji tužni monstrumi (2019.), napisan kao nastavak prethodnog dramskog ciklusa Ljudi od voska (2016.), nudeći publici kao središnjeg protagonista »Matu, dramskog pisca i glazbenika«, čija se biografija nastavlja na lik »Viktora, dramskog pisca i scenarista« iz drame Ljudi od voska, izvjesno je da je riječ o dva dramska ciklusa koji međusobno dijalogiziraju preko lika koji je namjerno rastavljen na dva imena i dva konteksta, namjerice formalno aludirajući na autora svih navedenih tekstova, Matu Matišića, nesumnjivo dramskog pisca, glazbenika i scenarista. Pri tome je hrvatska javnost nakon premijere Ljudi od voska dokumentarno raspravljala je li u pitanju fikcija ili fakcija, odnosno je li Viktor (lik) u stvari Mate (osoba), odnosno je li Mate (pisac i skrbnik) u stvari Viktor (pisac i skrbnik), što znači da se igra identifikacije preselila iz užeg prostora teatra u širi prostor medijske estrade, s vrlo malo svijesti o tome da se autor svih ovih tekstova višestruko poigrava s javnošću na temu duboke i povijesno stalne, književnoteorijski stabilne ambivalentnosti granice lik / lice. Raslojavanje polemički napisanog »autobiografskog« lika dodatno se nastavlja u ciklusu Moji tužni monstrumi, jer svi Matišićevi »Matišići« shvaćaju da drugi o pogledali na pozornici – ili zato što imaju osobnu fikciju o fikcijama drugih osoba. Nastavak drame Ljudi od voska tako donosi izvanredno kompleksnu dramsko/filozofsku studiju o »reprodukcijskim pravima« autorovog autorstva, autorove smrti i autorove šire zajednice, kao i studiju o manipulaciji svakom psihografijom, u kojoj ne samo da likovi traže svog autora da bi se s njime pirandelovski obračunali, nego pisac istodobno nastupa i kao njihov zarobljenik i kao parezijski prokazivač.
其他摘要：Since the text of Matišić’s drama cycle Moji tužni monstrumi from 2019 (My Sad Monsters) was written as a sequel to the previous drama cycle Ljudi od voska (People of Wax, 2016), offering the audience as the central protagonist »Mato, playwright and musician«, whose biography is based on the character of »Victor , playwright and screenwriter« from the play People of Wax, it is certain that these two drama cycles dialogue with each other through a character who is deliberately separated into two names and two contexts, intentionally and formally alluding to the author of all these texts, Mato Matišić, undoubtedly playwright, musician and screenwriter. At the same time, after the premiere of The People of Wax, the Croatian public discussed whether it was a matter of fiction or faction, i.e., whether Viktor (character) is in fact Mate (person), or whether Mate (writer and guardian) is in fact Viktor (writer and guardian), which means that the game of identification has moved from the narrower space of the theatre to the wider space of the media stage, with very little awareness of the fact that the author of all these texts repeatedly toys with public on the topic of deep and historically constant, literary-theoretically stable ambivalence of the boundary between character/face . The stratification of the polemically written »autobiographical« character continues in the cycle My Sad Monsters, because all of Matišić’s »Matišićs« realize that others psychotically know more about them than they do, either because they have read them in the text or saw them on stage – or because they have a personal fiction about other people’s fictions. The sequel to the Drama People of Wax thus brings an extraordinarily complex dramatic/philosophical study of the »reproductive rights« of the author’s authorship, the author’s death and the author’s wider community, as well as a study of manipulation of any psychography, in which not only characters seek their author to deal with Pirandellian reckoning, but the writer at the same time appears both as their prisoner and a parrhesian narrator.
