The article discusses the challenges faced in adapting Annie Ernaux's novel 'The Years' for the stage, suggesting that the concept seemed flawed from the outset. The conventional expectations of theater often lean towards emotional identification and psychological narratives focused on individual experiences, which contrasts sharply with Ernaux's work. Her novel is described as an anti-psychological autobiography that emphasizes collective memory rather than personal plot or character development.

Ernaux’s novel presents a stream of consciousness that flows through time without a clear protagonist or traditional storyline, making it difficult to translate the nuances of her collective narrative into something that engages theater audiences emotionally. The author's narrative style, described as lacking a central 'I' and plot, poses significant obstacles for a theatrical interpretation, as audiences typically seek identifiable characters and emotional arcs. The outcome of such an adaptation may challenge both the integrity of Ernaux's work and the expectations of theatergoers.

Ultimately, this situation raises important questions about the nature of adaptation and the influence of literary form on audience reception. It invites a discussion about the purpose of theater in relation to literature, particularly in cases where the source material diverges significantly from conventional emotional storytelling. This exploration could provide insights into the broader implications of adapting literature to performance art and the potential risks involved in such creative endeavors.