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ISSN 1409-6900 | UDK 82+7     Blesok no. 14 | volume III | April-May, 2000



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                     Peer-reviewed journal
Blesok no. 14April-May, 2000
Theatre Reviews

On the Prosperity of Clowns and Actors

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p. 1
Goran Trenčovski

“The resistance to arts is simultaneously resistance to the new, the unpredictable.
    Robert Breson

    Orpheus is playing, but only few people are listening to him! Is the problem with him or with those who refuse to listen? If the characters of Orpheus are looked for on the ground of the Balkan theatre, it will certainly be difficult for us to identify all the faces of the recipients of Orpheus’ play. But what kind of play are we actually dealing with?
    Orpheus’ theatre, which can be tantamount to that of Titus Andronicus[1], is a polygon inundated with clowns and actors. The clowns do not hide their attitude towards things and their play is more explicit, but actors are inclined to double play, and often to persiflage. According to this, is the overly-sensitivity of the actor’s being put on the verge of the tempestuous millenium upheaval leading to an escape from the real play and indulgence to a non-theatrical form of existence?! The response lies in the generation of actors born near the end of the sixties and the beginning of the seventies, at the time of the expansion of the anti-theatre.
    “Man will be surprised by and angry at many sharp predictions: today, the same as yesterday, it is apparent that many things remain outwards of any predictions,” says Jacque Attali regarding the position of man in the new century, in his study “The Two-Thousand Years”[2]. This ascertainment can also be taken into account in the analysis of the current general state of affairs in the theatre, which is a product of the chaos of living and the systems of living dictated by the state institutions. Democracy and pluralism have imposed a new recourse of comprehension of theatre. This manner is frequently vulgar. You may say, in life as well there is sufficient vulgarity. Yes, but theatre is at a disposal to everybody, even the youngest, the children. What could happen if without an author’s censure, the front pages of the majority of printed media (these include even some tending to be highly serious) continue to be overwhelmed with “modern” sexy-phone hotlines?! It seems to me that in this case it is related not to modernity but simply, to frustration. This term entails thereof the existence of misanthropy, hypocrisy, and eventually, mimicry. There is likelihood that in the last decade there are more and more “actors” in life and fewer Actors on the theater and

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1. See the scene between Titus and the Clown, scene 3, act 4: William Shakespeare, Titus Andronicus, Leipzig, Bernhard Tauchitz, 1868, p.55-56
2. Jacque Attali, Lines of the Horyzon (Lignes d’horizon, Fayard ,1990, Paris), translated by Blagoja Velkovski-Kras, Misla, Skopje, 1993, p.114






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