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ISSN 1409-6900 | UDK 82+7     Blesok no. 32 | volume VI | May-June, 2003



                     Peer-reviewed journal
Blesok no. 32May-June, 2003
Theatre Reviews

The Philosophy of the Creative Work

(Saško Nasev, PhD: “The Seriousness of the Game - the Aesthetics of Contemporary American Theatre”, Époha, 2002)

p. 1
Emilija Mataničkova

     This book is a redacted version of Saško Nasev’s doctor’s dissertation, presented at the University of Philosophy, in 2001. The title itself induces the knowledge of the great body of the work on themes, dedicated to the aesthetics of the Contemporary American Theatre (CAT), then why did he choose this in particular, and what is it actually all about. Before we go on with our clear and detailed approach, we face the fact that this is, without delusion, the first philosophical and theatrological effort on this subject in our country. That’s the reason why we’re about to take a deeper view inside this work, where for the first time, we have the chance to see the sublime con/text of the American issues up close and personal, and maybe it’ll make us forget it all, considering Bush and his company.

The artistic and aesthetical tools of the thesis

     Nasev is very honest whenever he reaches the limits of the exploration. From this stance, we’re clear about the concise questions: Why did he choose this topic and what is CAT really like, for he sees, and analyses it within the USA way of living, and his own spirally knitted ideologies, inside the theatrical and aesthetical dimension. The CAT is the one that introduces all the new and spiritual tendencies in the contemporary way of life. A theatre that represents a prism for the psychology of mankind; the (copied) ontological source of mankind. Throughout his exploration, in an almost shaman way, Nasev unites the diverse and dispersed visions, of great contemporary thinkers. And that’s why he speaks about/with the aesthetical (philosophical, social, ethical, historical, ideological) meanings of the American theatre. This is where his depth becomes profound, and that is beyond the mere break down of the dramaturgical structure. In a model that is inter subjective and auto referential, and takes over Frances Fukujama’s model of the “habitué of the information”, Nasev’s entire thesis unites different views, marks of the aesthetics and style, existentional, ethical, interpreted and represented artistic attitudes in CAT. Even, if you’d like, he has found an alibi in John Kennedy’s statement, that the culture is big as much as the nation wants her to be!

A compact synthesis on social and cultural history

     Before he approaches the 11 most crucial creative figures in the CAT, following the method of generalizing, through one general and compact synthesis, Nasev covers all relevant,

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