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ISSN 1409-6900 | UDK 82+7     Blesok no. 20 | volume IV | April-May, 2001



                     Peer-reviewed journal
Blesok no. 20April-May, 2001
Theatre Reviews

Proud Flesh / Candide

p. 1
Emilija Evtimova

    In a journalistic context, if one uses a complicated methodology of analysis of terms, processes, structures, such is the comparative, it is always needed to precisely draw the path of reference. When one makes an analysis of an art form, particularly multi-faceted, interdisciplinary art form like the theater, then the act becomes even more complicated and puts additional responsibility on the shoulders of the analyst. The following text will try to create unpretentious viewpoint towards two, more or less different, universes: the shows that recently draw great attention of the public – “Candide in Wonderland” and “Proud Flesh”, both produced by the Dramski theatre.
    These two projects seem quite different, and use completely different approach to come to the final product. First and foremost difference is in the kinds of texts they use: the first is more than 20 years old – “Proud Flesh” by Goran Stefanovski, and the second is quite new and contemporary – “Candide in Wonderland” by Venko Andonovski.
    Even at this early stage in the process of analysis, the starting point of proving their (conditional) uniqueness might be recognized. The action of Stefanovski’s “Proud Flesh” takes place in Skopje, during World War II, but its point, as its author would stress, functions unbelievably well today, while the “New World Order” is being made at the end of the Twentieth Century. The context is very contemporary. Time – now. If there was ever a time when “Europe gave a fart about us”, today’s Balkan problems are even worse. Then Europe knew who we are (maybe). Even now, the “Old bleached lady” maybe knows that. Then, the idea was to prove that we are important and worthy to that cold, heartless, superficial, “capitalist”, ideologically impaired Europe. Now, the first thing we need to do is to persuade ourselves that it is true, by first answering the question “who are we?” Only after that question is answered, we can persuade Europe.
    The main point of Venko Andonovski’s text, which refers to Voltaire’s “Candide,” fits well in this framework. “Candide in Wonderland” goes beyond and answers the question. It talks about our “unfree” or slavish substance. This text, in very clear, sharp, cruel, and ironical manner warns that courage should not be mistaken for a feeling of freedom. Where does the mixing of the need of freedom and courage come from? From the raised adrenaline! Its seems easier for humans to imagine

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