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ISSN 1409-6900 | UDK 82+7     Blesok no. 44 | volume VIII | September-October, 2005



                     Peer-reviewed journal
Blesok no. 44September-October, 2005
Theatre Reviews

I Found My Way and I Will Continue to Follow It

Interview with Bajrush Mjaku

p. 1
Liljana Mazova

The actor needs a mirror in which he will see his reflection, without twisting the mirror if the face that he sees in it is not to his taste; was this the reason that you work Gogol’s Diary of the Madman on the small man, clerk Poprishchin as an independent production, escape from the institution?
    Then I was an actor with 30 years of experience. But, it comes from much earlier, so I should go back in time when I managed since the 90-es to push for projects in the Theatre that meant a lot to me and which I was convinced would work. There was BAAL with Brezovac, a play with which we were the first ones from Macedonia who opened the doors of the staged in Europe, then there was King Lear with which we went to Cividale in Italy, but also to the first post-war MESS festival in Sarajevo that was becoming international, and then to the Bonn biannual festival with Bones that Come Late and then we also went to Riga with this play. Let me also mention my plays with Dritëro Kasapi as Euralien of Goran Stefanovski, a script for a theatre project with 50 actors and 13 directors, an order of Intercult from Stockholm where we played a duo play with Refet Abazi, 20 minutes long and it is still remembered in Sweden, of Hotel Europe based on the concept, scripts and dramaturgy of G. Stefanovski also, for a European theatre project of 9 directors from Eastern Europe, which was realized in the production of Intercult from Stockholm,  and the festivals of Vienna, Bologna, Bonn and Avignon, where we played The Albanian Room with Arta Muchay. Then I met Ivan Popovski, we had more time to talk about work as well, about my wish to play Poprishchin from Gogol’s Diary of the Madman. Watching his work on the Russian Room of Hotel Europe, I interested him in working together, thinking, maybe naively, that he lived in Moscow where Gogol lived and that we would find a common language for work together. And now, about the mirror that you mentioned. The mirror is the theatre, and I also call the director a mirror. Although I had some friends of mine offering me “hey, you work on monodrama, learn the text and we’ll come to tell you this or that…”. I don’t think that this is the way

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