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ISSN 1409-6900 | UDK 82+7     Blesok no. 19 | volume IV | February-March, 2001



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                     Peer-reviewed journal
Blesok no. 19February-March, 2001
Theatre Theory

Conquering freedom

A foreword to Four Decades of Macedonian Drama and Theater: from Darkness to the Slavic Chest


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p. 1
Jelena Lužina

    The contents of this book are exactly the same as its title: ten contemporary/modern plays written by ten contemporary/modern authors. According to the criteria set out by one theaterologist (e.g. a specialist in theater studies, and not a literary critic nor a historian of literature!), the aim of the book is to objectively present ten relevant plays, which in the course of the last four decades of the twentieth century have been successfully produced both in the Republic of Macedonia and abroad.
    Nothing more and nothing less.
    This book was not conceived as an anthology of contemporary/modern Macedonian drama so there is really no intention (nor ambition for that matter) of presenting the ten contemporary/modern plays considered to be the best in Macedonia. Nor the most beautiful. Nor, for that matter, the most interesting. Nor, even the most important for the four-decade development of drama and theater in this region. However, it is completely obvious that all ten of the chosen/selected plays are all well written, extremely interesting, and significant for the present status of the contemporary/ modern Macedonian drama, and the contemporary/ modern Macedonian theater. In other words, this edition simply does not wish to be weighed down by any “exclusive” anthological ambitions. Its intention is quite normal and quite practical.
    This book, then, was not just conceived as a basic source of information on modern Macedonian drama and modern Macedonian theater, rather it strives to fulfill another important goal: besides the ten chosen/selected plays, it also includes all the necessary theatrical apparatus, including the complete information necessary on the authors and their plays, on the theaters in which they were staged, on the directors and casts which produced them, and on their reception both in Macedonia and abroad… Since it is neither possible nor desirable to “separate” drama from theater, nor to look at these individually/separately, this book strives to relate to the ten selected plays in the same way as Macedonian theater has related to them in the course of the past forty years. The thesis that there is no national theater without national drama (in any case, also vice-versa), was argued by good old Lessing somewhere between 1767 and 1768 and rendered irrelevant all his subsequent musings on this matter (Lessing, 1950).
    Because it is mainly oriented towards the foreign reader, who until now was acquainted with Macedonian theater and Macedonian modern drama most often due to an accidental meeting






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