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ISSN 1409-6900 | UDK 82+7     Blesok no. 08 | volume II | April-May, 1999



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                     Peer-reviewed journal
Blesok no. 08April-May, 1999
Theatre Reviews

Pocket Full of Magic

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p. 1
Biljana Garvanlieva

    While watching a play, contemporary lonely child doesn't wonder (as his parents an watchman's do) “Do I want to be good?” but “Who I want to be?” If the fairytale character is a good person, then the child decides to be good, too. The characters that live on the Theatre for children and youth's stage in Skopje clash with children's and grownups' everyday existential fears – need for love, fear of being worthless, love for life and fear of death.

Mogly – The Child of the Jungle

    Every child that identifies with excellent Igor Madžirov, as Mogly – child taken by the wolves, feels powerful to defeat his biggest enemies – grownups. Fluid and elastic body with which this actor rules outstanding, gives security to his faithful audience – that they can also do what ever they wont. Eternally actual and existential question “To be a human or a wolf?” Bulgarian director Bonjo Lungov make it come alive before children's eyes with excellent coordinated actors: Ana Levajkovikj, Dragan Dovlev, Tanja Kochovska, Predrag Pavlovski, Olgica Hristovska, Izabela Novotni and Vladimir Lazovski.
    Jungle of sponges and virtual animal puppets lives of this small theatre stage with existing speed of a cartoon.

Cinderella

    This half–puppet version of a well-known fairytale, paints the parallel words of actors and puppets, but it also paints that the world isn't always a fairytale.
    Talented director Dragan Dovlev presents his vision of falling into the life's bottom only as a necessary step for a man to become as a necessary step for a man to become capable of realizing his biggest potentials. Every child identifies win Cinderella (Ana Levajkovikj), and thinks: “You can make me do all the dirty things and I'll pretend that I'm dirty, but I know that you behave like that because you are jealous that I'm better than you.” Novotni, Kochovska, Hristovska and Lazovski use the wide space for actor's improvisations for parallel characterization between puppets and those that always hold them in their hands.






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