Abstract
Taking exception to the psychoanalytic and theological interpretations, I stress the play's resistance to interpretation and suggest that the play might well be about the art of living in a meaningless world. Borrowing the term 'semiotic chora' from Julia Kristeva, I read as a representation and dramatization of the space where subjectivity has not yet been constructed and thus many possibilities are still open. I also suggest that the play offers a therapeutic journey to the abject elements of human life.
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