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ISSN 1409-6900 | UDK 82+7     Blesok no. 28 | volume V | September-October, 2002



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                     Peer-reviewed journal
Blesok no. 28September-October, 2002
Theatre Reviews

Shishkov – Synthesis

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p. 1
Jelena Lužina

    Thinking for the concepts of (as first) the Symposium, and then of (as second) this monograph publication[1], on the acting mastership of Risto Šiškov, a mastership that in relatively short period of existence – barely 20 years (since 1962/64 until 1984/86, when he plays his last roles), I did insist on – at first – to determine what issues, the team that had to realize this project, didn’t want to work on. Determining – in advance – our goals (to offer as much as possible various, but concrete and exact scientific-theatrological argumentation/explication of the position and the status that Risto Šiškov build for himself in the newer Macedonian theater, film, TV and radio history…), I confined the frames – at first – what all of my co-workers accepted as a strategy by which they did their studies:
    That we will deal exclusively with a clear and firm, scientifically and methodologically “provable” and “measurable” elements, elements that do structure (make, shape) the so-called Šiškov Phenomenon.
    To talk like this – cold, rational, with distance, exact – of the fluid, ephemeral, highly emotional phenomenon as the acting performance is, maybe isn’t that much complicated as it is unusual, (at least here and now). Our whole theater science and critic, suffers from the lack of the factographical/scientific knowledge (above all of the lack of methodology), therefore – in the equal reciprocity – from the surplus of the – mostly – non-argumented and shallow) emotionality. Even besides the fact that, recently, this multi-decade-lasting “suffering” do decrease – because (in spite of all!) some different critic and scientific approaches do affirm in this part of the world, and those impose some more serious theater analysis – on the theater, especially of the acting performance, still are (mainly) based upon the personal impressions and upon the emotional/aprioristic determinations (“for” and “against”). Even the (on the surface) most ambitious kinds/forms of the theater studies, structured (sometimes) in whole books, aren’t any exceptions.
    The whole – until now – writings on Risto Šiškov is a superior example of this “powerless” scripture standard.

*   *   *

    Maybe exactly through the careers of the three Macedonian top actors we should determine and  evaluate the three key levels/phases of the development of the Macedonian acting performance mastership:
    The first one is Petre Prličko, the iconic omen of that initial, intuitive – ethno-beat – and still completely mimetic phase of the Macedonian Theater history.
    he second one is Risto Šiškov,

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1. Because of the space limitations, we had to do a small redactorial cut in this text, but only in the Shiskov’s biography segments. The integral version of the text can be found in printed/published form: “Šiškov” (monograph), by group of authors, assembled by Jelena Luzina, FKT “Risto Šiškov”, Strumica, 2002






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