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The article suggests that eavesdropping scenes contain the key to a fundamental dispositive of the theatre, that reinforces the intricate metatheatrical dimensions of any performance and amplifies its philosophical aspects. In order to make this claim clear, the article discusses the idea of a dispositive, a concept broadly taken from Foucault (1980; 1986) and applies its self-reflexive dimensions to a number of examples from different plays, in order to demonstrate as those work both as scores for performances as well as texts with a philosophical character.

The article suggests that eavesdropping scenes contain the key to a fundamental dispositive of the theatre, that reinforces the intricate metatheatrical dimensions of any performance and amplifies its philosophical aspects. In order to make this claim clear, the article discusses the idea of a dispositive, a concept broadly taken from Foucault (1980; 1986) and applies its self-reflexive dimensions to a number of examples from different plays, in order to demonstrate as those work both as scores for performances as well as texts with a philosophical character.

The article reviews the issue of the affair and the political fall of the Aleksandar Ranković in 1966. Ranković was the establisher and the main responsible man for the work of the Yugoslav security services after the 1944. In June 1966, he was accused for the illegal taping of the Tito and his wife Jovanka in their premises. It was the pretext for further accusations for his conservative political attitude, which then used for the establishment of the wider accusations presented to the wider party circles at party Central Committee gathering at Brioni island on the 1st July 1966, known as the Brionski Plenum. After this event, Ranković and some of his close collaborators from the Yugoslav and Serbian Security services were removed from political life. This article discuss the accusations based on the research in the archives of the Yugoslav Army Counterintelligence services, which were responsible for the investigation on the technical side of the accusations of the alleged Ranković and security taping of the Tito’s activities’ in summer of the 1966.

The paper summarizes, to begin with, the conclusions of an analysis of the stance of the spectator, upon which the following argument rests. It aims to instance various categories and sub-categories of the main strategies of ‘showing’ (l’ostension), be they in the act of writing drama, or of staging it. The provisional typology offered here is purely descriptive of the factors apparently brought into play. These procedures range from the combined use of scope and focus to various underscoring techniques, such as deixis; the accumulation or repetition of cognate elements related to one channel or system; conversely, the physical suppression, or ‘blanking’ (desemiotising) of sign-vehicles or aspects of them. In order to stimulate the spectator’s deciphering activity, they may even entail breaking, in various ways, the bond that experience establishes between object and significance, or sign and reference. One last category of strategies of ‘showing’ consists in altering the rapport between spectacle and spectator by such constructional devices as suspension of dialogue, split-scenes, eavesdropping scenes, or dramatic embedding (‘insets’). It is hoped this tentative description will generate debate and counter propositions. [ABSTRACT FROM AUTHOR]