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ISSN 1409-6900 | UDK 82+7     Blesok no. 33 | volume VI | July-August, 2003



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                     Peer-reviewed journal
Blesok no. 33July-August, 2003
Theatre Reviews

From the 38th Theatre Festival “Vojdan Černodrinski”

(Prilep, 13-20 June 2003)


/10
p. 1
Emilija Mataničkova

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The Hero Runs the Final Round

On “Balkan Spy” by Dušan Kovačević, directed by Vladimir Taleski, played by the People’s Theatre of Kumanovo

    Why are the comedies of Kovačević equally liked both by the “accidental” audience and the one with intellectual demands? His comedies are a reflection of vitality, which comes from the animal side of our nature, but also with overall actions of his heroes. This vitality especially shines from the black humor, the forced smile, and the self-assertiveness trip. In this way Kovačević breaks the analogy of the identification with canonic comedies of Nušić where the latter insists on the troubles one gets into and the conformism as opposed to his authentic comic genre.
    Kovačević plays with the authenticity and probability of the situations that come from the ones preceding them. He also pays attention to the plot where he merges the seemingly minor threats, which touch upon themselves again. The puns and tone of speech as a whole are not only the means to induce laughter. The heroes with their actions give birth to the events.
    The plays of Kovačević are both a satire of our Balkan mentality and political comedies. Inside them reside maniacally possessed dark guys who are conditioned by their position in the society. The comic procedures develop in the drama, stage and theatrical aspects of Kovačević. He plays in the area: traditional and modern, individual and collective, ideological and moral.
    “Balkan Spy” is a superior analysis of the case Man, who becomes the victim of the pursuing delusion. Man who experiences the world as a conspiracy against him, against the ideals he stands for. In his mania he creases a small, but well organized totalitarian order around him. This bitter mockery in this play, and in the other ones created by Kovačević is much deeper and broader than the local frames.






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