<p>This essay investigates the function of fictional space and thematics in Line Knutzon’s dramatic works.</p><p>My main theoretical concept is thematic unity, factors that unite several plays by one author.</p><p>I have found three major themes: the encounter, identity and childhood, which I study in five of Knutzon’s plays: The Splint In The Heart, The Latest Thing, First You’re Born, The Air Others Breathe and The Time Will Soon Come.</p><p>I study three aspects of space: fictive space, where the play is set, the characters’ inner space and exterior space, that which is outside fictive space: society. Fictive space is shown mainly via dialogue and context.</p><p>It is evident that the themes, most clearly visible in the five chosen plays, are very important in Line Knutzon’s dramatic works. Most typical is the way she portrays childhood memories, in monologues showing that her characters exist in a “hole”, in the void between childhood and adulthood.</p><p>My investigation leads to the conclusion that Knutzon deals with existential matters: there is a kind of constant chaos, within her characters, expressed in actions and thoughts. This chaos also influences the fictive space, where the play is set.</p><p>I can discern a pattern, showing that my three chosen themes and the three functions of space intersect and interact: in their mixture can the characters’ dilemmas and existential questions be found. This is, in my view, the core of Line Knutzon’s work.</p>

This essay investigates the function of fictional space and thematics in Line Knutzon’s dramatic works. My main theoretical concept is thematic unity, factors that unite several plays by one author. I have found three major themes: the encounter, identity and childhood, which I study in five of Knutzon’s plays: The Splint In The Heart, The Latest Thing, First You’re Born, The Air Others Breathe and The Time Will Soon Come. I study three aspects of space: fictive space, where the play is set, the characters’ inner space and exterior space, that which is outside fictive space: society. Fictive space is shown mainly via dialogue and context. It is evident that the themes, most clearly visible in the five chosen plays, are very important in Line Knutzon’s dramatic works. Most typical is the way she portrays childhood memories, in monologues showing that her characters exist in a “hole”, in the void between childhood and adulthood. My investigation leads to the conclusion that Knutzon deals with existential matters: there is a kind of constant chaos, within her characters, expressed in actions and thoughts. This chaos also influences the fictive space, where the play is set. I can discern a pattern, showing that my three chosen themes and the three functions of space intersect and interact: in their mixture can the characters’ dilemmas and existential questions be found. This is, in my view, the core of Line Knutzon’s work.

DANISH THEATRE AND DRAMA IN 1990'S TÁŇA ŠVEHLOVÁ Abstract: The thesis deals with the blom of Danish drama in the 1990s. The first chapter Theatre Context concerns the cultural-political grounds for the development of new writing for theatre, and introduces the most significant theatres that to stage Danish drama. The second chapter Dramatics in the 1990's is a literary-historical approach to 9 of the most important playwrights' work (N.Cederholm, E. Jepsen, J. Ørnsbo, A. Saalbach, J. Rohde, M. Vizki, P. Asmussen, N. Werdelin, L. Knutzon). The final chapter presents a practical insight into Danish drama via an anylysis of Line Kunzon's drama Soon the Time Will Come (Snart kommer tiden, 1998).