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ISSN 1409-6900 | UDK 82+7     Blesok no. 26 | volume V | May-June, 2002



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                     Peer-reviewed journal
Blesok no. 26May-June, 2002
Theatre Reviews

Time of the Moment

(selection of Mina Shpela Krstevska, translated by Elizabeta Bakovska)


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p. 1
Trajče Kacarov

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On National Theatre

     In his intention to stress the need of theatre aesthetics, which will not result from the impeccable diction of the actors from abroad, but from the actors who stutter but they do it in their mother tongue, Augusto Boal, the Brazilian theatrologist, says:
     “In the developing countries it was a must to take the theatre capitals as a model and goal… The actor was not allowed to be influenced by those like him; He dreams of a company of the so-called educated viewers. He intends to integrate the traditions of others, not expressing his own. He takes his culture as a divine message, and he himself does not utter a single word.”
     Later in his explanation that theatre should always match the aesthetic needs of the recipient, that is, each audience wants plays that confirm its vision of the world, he says that:
     “The cradle of the epic theatre would be unimaginable without their thousands of proletarians, and the castration and anthropophagi of Tennessee Williams, without New York. I would also be absurd to stage Brecht’s Mother on Broadway, as well as the Iguana Night before Berlin Trade Union.”
     Boris Zingerman in his book “Jean Willer et all” gives material that corresponds to Boal’s view. Zingerman says:
     “Antoan, fearing the expansion of the Russian theatre in 1923, more specifically fearing the Camera Theatre of Mayerhold and Tairov’s plays, said: Unless you stop the enemy, there will be no French theatre, and our plays will become German, Russian, Black.”
     What does this say? It is clear that the theatre is not only a carnival and holiday but also a mechanism. A mechanism of the play ritual whose provenience, national habitat, nationality, we can determine. What does that mean?
     It means that its immanent task should always be pointed out:
     to be the island in the archipelago of islands;
     to fit the local theatre aesthetics;
     to build an emotional contact with the audience.
     In his book Labyrinths, Bora Drashkovic says: “The play wealth is the genealogical tree of a people.” The same thing can be said about the theatre, and add that “theatre trunk rings are multiplying, the tissue matures in the space”. It matures, and why? So that the people, not alone, but with their hardship and loneliness can enter that matured cell and feel it. Feel it as an encouraging crowd, as the breathing






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