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ISSN 1409-6900 | UDK 82+7     Blesok no. 30 | volume VI | January-February, 2003



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                     Peer-reviewed journal
Blesok no. 30January-February, 2003
Theatre Reviews

The Ready-Made and the Macedonian Theater

on the examples of the plays “Macedonian Bloody Wedding” and “Macedonian Story”


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p. 1
Robert Alagjozovski

    The Macedonian theater-scene, adopting and developing the postmodern postulates, even in those poor times – shows the surprisingly inventive work on the theater elements, norms and conventions. Within the frames of the theater-plays, the bold experiments emerge, with which the theater language gains in its freshness and “artism”. With that, the new and inventive means and methods are being implemented. The interdisciplinary and intermedial characteristics are some of these – more explicit – characteristics in the many of the latest theater-plays. Namely, the expression means that belong to other art-disciplines are implemented within the frames of those plays, which, keeping the whole of their inherent characteristics in the new context – create a certain duality and some marginal atmosphere that enriches the theater act.
    An example of such interdisciplinary method is the “borrowing” of the technique from the visual arts – the ready-made, implemented within the frames of the theater music and scene segment. To be economic with this text, we will analyze this characteristic on the examples of two recent plays: “Macedonian Bloody Wedding”, directed by Ljupco Gjorgievski, put on the scene of the Bitola People’s Theater (through its music/scene participation of the band Foltin), and the miseenscène of the play “Macedonian Story”, directed by Bonyo Lungov, put on the scene of the Children & Youth Theater in Skopje.
    The ready-made is a technique, characteristic to the visual arts. It origins from the Dadaism (1913-1918), when Marcel Duchan put the (already widely known) pissoir named as “Fountain” as a legitimate art-deed at the art-concourse. The most concise definition of the ready-made is that it is an object of the non-art origin “borrowed”, defined and exhibited as an art-deed, with or without interventions on it. The main goal of the Dadaist ready-made was to shudder the high academic audience. Later, the ready-made is continuously exploited within the frames of the avant-garde and neo-avant-garde movements. The Postmodernism, within the frames of its style arsenal includes all of the historical techniques and means of the art-expression, depriving (or “mellowing”) them from their primary contexts. The same case is with the ready-mades of the artists that we will speak of here. Their goal isn’t to shudder the audience, but to make the play more vivid and more complex with the extraordinary use of the objects, and with their paradoxical linkage, in order to provoke the audience’s attention and to point on their – let’s call






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