The Chekhov Hyperdrama

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But he should never take more than one "starter" or more than one "dessert" with the same entree.

Text and Hypertext

For Ever and a Day , is a love story that comes with a menu from which the audience, actors, or director can choose one of three beginnings and one of three endings one befitting a tragedy, one a comedy, and one an ecological tract. In I thought up a hyperplay in the form of a theatre menu — For Ever and a Day in which the viewer, as in an inn, can choose his own meal and compose it choosing between 9 different versions of the play, which has three starters, one main course and three desserts.

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The author suggests a menu-like structure for the play - three interchangeable starters, one main course and three interchangeable desserts to conclude. The theatre manager, director, or spectator can choose which of the nine possible versions they want.

William Shakespeare's Hamlet and Anton Chekhov's The Seagull

The play can have either a tragic, a happy or an ecological ending. Pavic's play, For Ever and a Day is subtitled A Theater Menu here I would like to remind the reader that the word menu in computer terminology already points to the possibility of a choice. It is composed so that it has three interchangeable beginnings or Starters, three ends or Desserts, and a central part or Main Course around which these beginnings and endings rotate, thus forming different links with them and among themselves. They can be combined into at least nine different versions, each of them being a separate whole in itself.

It is the responsibility of the reader-spectator or the theater director and the acting troupe to decide which of the variants they will choose and which ending to pick: the happy ending, the tragic ending, or the ecological ending. Perhaps we might say that For Ever and a Day is a hyperplay. It falls into that group of the texts that cannot be printed in a book in an adequate way because the mutual interchangeability of the beginnings, and the endings of the text cannot be represented without imposing a chronological order on it for instance: Starter I, Starter II, etc.

The main characteristics of a hyperplay are kept by Pavic's drama even when it is transferred into the theater medium that, in this case, is already a simultaneous performance whether in the real space of one theater or different theaters, similar to the simulated space of the computer.

The Chekhov Hyperdrama by Charles Deemer

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    Canonizing Hypertext.

    Astrid Ensslin

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