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ISSN 1409-6900 | UDK 82+7     Blesok no. 12 | volume III | January, 2000



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                     Peer-reviewed journal
Blesok no. 12January, 2000
Theatre Reviews

The Road to Strindberg

On the occasion of the 150th anniversary since the birth of August Strindberg


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Goran Trenčovski

    O CRUX, AVE SPES UNICA, says a black wooden cross in the Stockholm cemetery, as if sending a massage to the Macedonian actors: “Play me, or an apocalypse will come to you!” With or without response, in the last year of this millennium, which drags as well the burden of three nines, in absence of a concrete actor's impulse, it is fair, albeit symbolically, to mark the 150th anniversary since the birth of the creator of the modern drama, August Strindberg (1849 – 1912), the introducer of the inferno motif in the world theater.
    What is, anyway, the road of Strindberg's arrival on the Macedonian professional scenes? It is a bending, disorienting and often impassable road. As a remainder: the first Macedonian premiere of a drama by Strindberg is “Father” (1887) performed by the City theater from Bitola in 1924, and the same drama was played by the National theater – Stip in 1963 directed by Ilija Arev, the National theater – Prilep in 1966, directed by Blagoja Danevski and Drama theater – Skopje in 1989, directed by Todorka Kondova with Mite Grozdanov in the leading role. This last version insisted on strictly respecting the verbal segments, with a particular accent on the given scenic atmosphere. “The Dance of Death” (1900/01) has been played only in the Drama theater – Skopje in 1940, and “The Ghost Sonata” in the Macedonian National Theater – Skopje in 1992 directed by Stojan Stojanoski. In “The Sonata..” the visual-dancing component of the performance was especially emphasized, and the role of The Student was played by Nikola Ristanovski. “Miss Jullie” (1888) was realized as an exam performance by the Faculty for drama arts – Skopje, in 1992/93, played by the actors: Suzana Kirandziska as Jullie, Vladimir Jachev as Jean and Maja Veljkovikj as Kristina. A rear example of complete shaping of the characters was achieved by the actors in this performance, which is a relevant achievement, given the precise and extraordinary coordinates for the characters set up by Strindberg. At the end of this century, the excessive temperatures, the earthquakes, the kitsch – wars and the terminal diseases have almost the same weight as the mysticism of the everyday life, the bizarrerie of some male – female relations, the marriage, the jealousy and the envy, dissected through the intimist discourse of the great Danish, Strindberg, whose artistic acme was manifested in the beginning of this century.






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