Arhipelagul Mihail Sebastian

This paper explores, on many levels, the complex and multilayered symbolism of the island in the dramatic works of Mihail Sebastian, Jocul de-a vacanța [The Make-believe Holiday], Steaua fără nume [The Star with No Name], Ultima oră [Breaking News] and Insula [The Island], interpreting it not as a mere setting, but as a dynamic metaphor that reflects the psychological, existential, and relational landscapes of his characters. Both his literary creation and his biographical trajectory seem to be structured around a logic of insularity, conceived as a form of strategic distancing from an adverse environment be that social, historical or personal. This withdrawal into an interiorized space does not equate to passive isolation, but is configured as a gesture of silent resistance in the face of an alterity perceived as threatening, excluding and, often, violent. Thus, insularity becomes both a modus vivendi and an aesthetic of survival, articulating an identity marked by discretion, lucidity and fidelity to one's own values ​​in a deeply hostile context. Drawing on biographical, literary, psychoanalytic and philosophical frameworks, the study is structured into six chapters, each examining a different facet of the island motif. The opening chapter, The Island That Harbors No Wonders, addresses Sebastian’s biography and personal writings as a foundation for his dramaturgy of solitude, framing the island as an existential condition (a symbolic terrain shaped by the anxieties, disillusionments and inner exiles) rather than an idyllic retreat. The Island of the Self explores the ways in which his characters construct and negotiate their identities in conditions of isolation, engaging in a nuanced interplay between self-perception and otherness. Rather than presenting identity as fixed or coherent, the chapter highlights how solitude becomes a space of performative tension, where the estranged self is scrutinized and shaped through an internal dialogue with its own limits and imagined alternatives. The island is further examined in its negative valences in The Island-Dungeon, where it becomes a space of captivity, stagnation, and communicational breakdown. In contrast, The Island-Womb reclaims the insular space as one of warmth, intimacy, and regenerative potential, highlighting its positive, maternal associations. The fifth chapter, entitled The Expansion of the Island, proposes that love, however fragile or ephemeral, acts as a centripetal force capable of momentarily dissolving the boundaries of isolation, expanding the metaphorical island into a shared emotional territory. Even if it does not permanently resolve the condition of existential insularity, it creates brief moments of authentic connection that reconfigure the contours of the self and invite the possibility of communion. The final chapter, The Carnivorous Island, deconstructs the utopian mirage, revealing the island’s ultimate betrayal: its capacity to consume the individual and nullify idealistic aspirations. By tracing the metamorphoses of the island across Sebastian’s theatrical corpus, the paper demonstrates that the island functions as a liminal space, one in which the tensions between freedom and constraint, self and other, illusion and disillusion are staged with acute philosophical sensitivity.