24hours

Two couples and 24 hours. Both only have 24 hours. The first couple, without food and water, caught in a dark mineshaft sincerely hopes that the rescue team will be able to find them within this time. The second, in bed in a hotel room, far from their spouses, is testing if the sex is still as good as it used to be years back when they were together. For both couples time is endless and at the same time far to fast. These things cannot be hastened. They take time, but we have less and less of it. Just like the contemporary haste affords us meager minutes for personal relationships, intimacy, love, so do interventions in the form of spams, these undesired emails, interrupt the time and words of both couples. Spam is extremely annoying: it fills up our inboxes and litters 24 hours a day. Today we're all available 24 hours a day, we're always connected and logged in. Pocket devices record our positions, movement, talks, messages, we're constantly under control. We constantly send and receive email, text messages, we chat online and it seems that our communication is slowly turning into spam, because, let's be honest, we mostly talk rubbish.
The contemporary drama form that Simona Semenič uses in 24hours is a linguistically, melodically and rhythmically harmonious drama structure in which the author questions personal, particularly intimate relationships. The two-time Grum Award winner (2009 for 5boys.si and 2010 for 24hours) uses her signature original theatre language to show us that the World Wide Web and the new media that expand the possibility for communication don't contribute much to mutual understanding.