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



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

A Virus Called Zucco

p. 1
Biljana Garvanlieva

    For the last nine years the world theatres' repertoires are massively infected by the play “Roberto Zucco”, by the French author Bernar Marie Koltes. In the very first reading of the play, both  the director Dritero Kasapi and the dramaturg Ognen Georgievski are infected with virus called Zucco. They react urgently and they turn the stage of Dramski Theatre into an electronic microscope just to find out – Who is Zucco? Who am I? Zucco can mean something sweet, but the problem of the name and the identity in Kasapi's concept is brought through the archetypical picture which is created by the actor Refet Abazi. At the very begging, the director sets up the bate for Zucco as something invisible – he can be the ghost of Hamlet's dead father. During the performance we found out that he is Hamlet himself, so that at the end there's nothing left of him, but the image of the audience about him. The director sets the classical crime story about Zucco as a murderer of his father, his mother, the unknown Lady and her child, with the delicacy of a film shot on the stage; but he does that just after he leaves the thorns of his author's story. Zucco's problem is not just how to break the criteria and to go through the walls set up  by the state, the family and the people so that he can become independent; it is how to get over the wall of one owns' skin in order to know himself. The polished and tightened dramatic pictures and lines with which the audience communicates, are professionally distributed by the invisible arm of the dramaturg Ognen Georgievski. Krste S. Dzidrov is responsible for “setting up” the metal walls, and the transformation of the stage into a liquid dramatic space. The costumes of Blagoja Micevski enable the transformations and the “normal” worlds of the character with a filmic precision. Also, the dramatic tension and atmosphere are there because of the choice of ritual Japanese drum music, done by Violeta Simjanovska.
    The basic pillar of the show is Refet Abazi – built through the character of Roberto Zucco. He, from scene to scene, bares the performance on his back, dictating the tempo and the rhythm, by infecting the partners with the need for an urgent resolution of his problem. IN every scene, he comes to his climax, after he has been reflected

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