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ISSN 1409-6900 | UDK 82+7     Blesok no. 07 | volume II | February-March, 1999



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                     Peer-reviewed journal
Blesok no. 07February-March, 1999
Theatre Reviews

Ulysses 1999

/2
p. 1
Nataša Stardelova

   On the 27th of March the theater “Anton Panov” in Strumica, after 50 years existence and 299 premieres, has its 300 premiere – “The Spirit of the Can“. The text of this tragicomic farce is written by the young author Biljana Garvanlieva, and the director Goran Trenchovski put it on the stage on a postmodern way. The year before entering into a new century the tandem

Garvanlieva – Trenchovski are putting a light on a question – what the spirit was of this century. Through the glasses of the tragicomic farce the everlasting theme Eros is not pink nor sublime, but its backside Tanatos is dominant. The author joins the mirrored picture of the reality  with a symbol, an object that will be a sign of this century, a Coca Cola can. The can is a kiss in Peter Pan’s love, a mean of payment and an island which is sinking in apocalypse. But the can is also a Pandora’s box of which the 20th century men, gulping the sweet liquid, sucked all the evil, alienation and destruction. Hence, the spirit that will sign this century is its spiritless, because the only value, love, stays sealed and cast into the sea bottom.
    

    The story, at first side unconnected has compact and encircled structure. The 20th century Ulysses is coming back home to his Penelope. But he doesn’t find her faithful, nor happy for his return, nor alive. The world in which he left her is exhaling, drowning into its own garbage. The only thing that is left is a symbolic Coca Cola can island, the dominant symbol of the scenographer Marjan Pecov – Zahov, that is sinking into the garbage ocean.






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