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ISSN 1409-6900 | UDK 82+7     Blesok no. 31 | volume VI | March-April, 2003



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                     Peer-reviewed journal
Blesok no. 31March-April, 2003
Theatre Reviews

Dejan Dukovski’s Dramaturgy

Towards “The Powder Keg”, “W.T.F. started all this” and “The Balkan is not dead”


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Emilija Mataničkova

    Dejan Dukovski is one of the leading figures in Macedonian contemporary, post-modern drama. Especially with his pieces: “The Balkan is not dead or the Edelweiss magic” (1992), “The Powder Keg” (1994) and “Who the f… started all this” (1996), Dukovski did not only gain the reputation of a virtuoso drama maestro in the Balkans, but more and more of his plays are also being displayed in many famous theatres worldwide. The technique and the elements he uses, the written directorial visualization, the frame of the post-modern fluidity… are becoming more of an obsession for the world cinematography as well. There are many ways for interpreting/understanding the stuff in his work. It’ll (also) take some time to decipher all the things existing there in theory, and that enterprise is exactly what’s ahead of us. This text is about one of the many opportunities, or efforts, to point out the possible aspects that cut out his drama writing.

Ramifications by the theme and motives:

    When there are slapping faces, when darkness falls before your eyes, and everything goes to hell, so you rape, you kill, you become paranoid; when you seek love, when love is really necessary, you offer the rare flower edelweiss; when you entrust yourself because you’re love-sick, or, because you’ve changed your mind: loves without fulfilment, of loosers and of those on the margins, urban and fucked up, frustrated fellows; the Balkan and collective tragedies, absurdities; primates, machoists kind, homosexuals; arrogant fools,… – it cuts “more” ways.

How does Dejan Dukovski do it?

    “The Balkan is not dead”, is compiled through its opened demonstrative procedure of re-deconstruction and re-semantization of the historical issues in “Macedonian Bloody Wedding”, by Vojdan Černodrinski. This palimpsest, wrapped up with the edelweisse (the position of the beginning and the end), has been broadened up by Dukovski, regarding other sequences, other characters and different outcomes of the events; e.g there are Kemal Ataturk and Eleni Karinte; or Cveta’s multiple choice, concerning both Spase and Osman-beg, which initiates a humane outcome, a reconciliation, and above all, it points out the intercultural context and the characteristic redefinment of identity, and a certain break-up from traditional restraints. Such an event “is functioning alike crossover rituals” (Lichte), -here it stands in the wedding act between Cveta and Osman-beg, and implying to that, is her last line: ”I died, but…” without the stoical non-Turkization. This also counts for the Turkish words, the Wallach






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