The essay deals with selected examples of deconstructions of the opposition between representation and presentation, characteristic of the post-mimetic, from the neo-avant-garde to the post millennium.  It traces authors who, from the 1960s to the present day, have deconstructed the drama and stage and invented new forms of re-dramatization and postdramatic intermedia interplay. We will see to what extent authors such as Peter Handke in Offending the Audience, the Pupilia Ferkleverk group in Pupilia Papa and Pupilčki, Dušan Jovanović in Monument G and Play the Tumour in the Head, Milan Jesih in Limits and Bitter Fruits of Justice, Matjaž Zupančič in The Corridor, Dragan Živadinov in The Rites of Farewell, Oliver Frljić in Damned Be the Traitor of His Country, Simona Semenić in 1981, and Žiga Divjak and Katarina Morano in various projects, persistently create disturbances in the fictional textual cosmos. However, at the same time they establish a powerful process of re-dramatisation, intense plots and denouements in theatrical texts and play-performances. It is as if, at the same time as deconstructing the dramatic, they inject the dramatic and the dramatic into the post-dramatic process of performance and writing. The post-mimetic thus coexists with the pre-mimetic, the »stripping down« of the representation of drama leads to the establishment of fiction. Razprava se ukvarja z izbranimi primeri dekonstrukcij nasprotja med reprezentacijo in prezentacijo, značilnimi za postmimetično, od neoavantgarde do postmilenija. Sledi avtorjem, ki od šestdesetih let prejšnjega stoletja do danes dekonstruirajo dramsko ter izumljajo nove oblike redramatizacij in postdramskega medmedijskega prepleta. Avtorji, kot so Peter Handke v Zmerjanju občinstva, skupina Pupilija Ferkeverk v Pupilija, papa Pupilo pa Pupilčki, Dušan Jovanović v Spomeniku G in Igrajte tumor v glavi, Milan Jesih v Limitah in Grenkih sadežih pravice, Matjaž Zupančič v Hodniku in drugih igrah, Dragan Živadinov in njegove ekipe v Obredih poslavljanja, Oliver Frljić v Preklet naj bo izdajalec svoje domovine!, Simona Semenič v 1981 ter Žiga Divjak in Katarina Morano v različnih projektih – čeprav vztrajno ustvarjajo motnje v fikcijskem besedilnem kozmosu – v gledaliških tekstih in predstavah - performansih vzpostavljajo močan proces redramatizacije, intenzivnih zapletov in razpletov. Kot da bi hkrati z dekonstrukcijo dramskega vbrizgali v postdramski proces uprizarjanja in pisave dramsko in dramatično. Postmimetično tako soobstaja s predmimetičnim, »slečenje« reprezentacije drame privede do vzpostavljanja fikcije.