Serbian comfort: Transformation of genre as ideological transition. Plays of Maja Pelević (“Orange Peel”), Tanja Šljivar (“Scratching or: How My Grandmother Killed Herself”) and Dimitrije Kokanov (“Movement [Technology and Choreography of Fear]”)

The topic of this paper is the relationship between the type of critical engagement and the type of genre model used by the Serbian playwrights in the first two decades of the 21st century. The first dimension of analysis is the application of the satirical mode in the treatment of the problem of the modern emancipated urban woman faced with double pressure – ideals imposed by the petty- bourgeois spirit and consumerism mentality, embodied in machines for “body production” – the cosmetic treatment, plastic surgery, and multimedia mechanisms. The second level of this relationship considers the way in which the situation of a group of schoolchildren, burdened by war traumas, poverty and a sense of loss, is presented through an allegorical pattern as a ritual of self-destruction. Finally, on the third level, we analyse the dramatic method which, adding to the problem of the individual and the collective, the phenomena of the “non-human” and the “superhuman” through the genre of the parable, views the modern man as a creature that is absolutely endangered, but also as a creature that absolutely endangers the world around him.