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The Dramski Theatre (Skopje, Makedonia) D. Ives, G. Pinter, С. Churchill 'The Lover'

Directed by - Zoja Buzalkovska
Set design - Barbara Cvejik
Choreography - Krenare Nevzati-Keri

The cast:

Alexandra Boshkovska, Deyan Lilik, Elena Zhugik, Rubens Muratovsky, Branko Gorchev, Robert Velyanovsky, Bilyana Khamamdzieva, Bilyana Dragichevich.

About the theatre

The begining 21.04.1946, with the first pupet show Silian, the Stork, based on a Macedonian fairtale. An independant Puppet Theatre 1949.

10.01.1958, first live performance of The Prince and the Begarr by M.Twain and S. Michalkov, and the young and Children's Theatre is born.

In 1964 a group of prominent actors from the Macedonian National Theatre joins, and in 1966 establish the Dramski Theatre. In 1967, its production of B.Nusic's The Deceased won the main award for the best Yugoslav show of the year and participated in the BITEF.

The Dramski Theatre has been on visiting tours all over ex-Yugoslavia, Bulgaria, Poland, Romania, France, Venezuela, Germany, Australia and Turkey, with participation in their local or international festivals.

About the performance

"...On the whole, no matter what Buzalkovska's basic aesthetic convictions are, which she will be able to display in the future, our theatre is gaining an author of precise wishes and a rather urban sensibility. The philosophical depths and ideas have always been incorporated in the works of the artists and not in the procedures to reach them. We are all for Buzalkovska."

"The Puls", Skopje, 1998

"... This is a play about love and with love. Starting with an automatic, irrational and ticklishly confusing play of words and situations where the points of communication with the trivial signs of what is outside the stage area disappear, down to the pondering into the most subtle depths of the fear and insecurity caused by the inability to final the emotional entity, Zoja Buzalkovska creates a stage-drama structure with references of a contemporary fairy tale. In the spiral of place and time (which by the way, in the frames of chills, rage, exaltations, apathy known as love, have no frames of their own) an object is being built which diverts from the given theme and purpose. There lies the quality of the directing devices. The theme can be understood as straight line, but here that is not permitted. The thin line disappears in dynamic, synchronizingly determined shape. The drama is being created from the clips of the basic action and the fiction elements only felt in the text. ... Buzalkovska has no tendency to summarize. She gives data. Through their own construction they deconstruct the aim. It helps to maintain skillfully the playfulness regarding the text as well as different poetical and critical connotations of the formal verbose formations of David Ives, through Pinter's psychological explicity down to Caryl Churchill's timid lyricism... ... The fact that theatre is a collective work is proved with this play where the actors' compactness in the chosen style and expression function faultlessly. What we have here is a system which functions irreproachably creating a whole which deserves an attribute of a special genre."

Iskra Gesovska "Between crisis and love"
"The Denes", Skopje 1998

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