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ISSN 1409-6900 | UDK 82+7     Blesok no. 57 | volume X | November-December, 2007



                     Peer-reviewed journal
Blesok no. 57November-December, 2007

The New Face of Theatre Museology

or the Past in the Future

p. 1
Ana Stojanoska

In the beginning, I would like to share with you the “the first stroke” of my personal elaboration on the theme of memory; some of it based on my research of this subject, some is part of that which is called self-knowledge, and some of it is more artistic than scholarly.
    To remember means to dream.
    To remember means to know.
    To remember means to have a lucid approach to that which has been.

    In the system of the memory of a specific culture and its organized gathering of its fundamental achievements, memories are situated in concrete and precisely determined spaces: museums, archives, institutes. In all these spaces the past is stored in a serious and responsible manner.
    Theatre memory is not merely the personal memory cherished by an individual, be that an actor, director, set designer, playwright, spectator or critic. Just like the theatre itself, theatre memory is a collection of personal and official memories which is multiple and multi-layered. Therefore, provoked by this theme which is the subject mater of our Conference, I decided to write about theatre museology from the inside and directly, both as an individual and a professional. More specifically, I decided to write about its new face and the ways in which an established system of archiving cultural heritage is activated in present-day conditions – in the period of global digitalization. The possibilities that digitalization offers to a museum, that is, to the theatre museum carry/convey/transport /propel the past into the future. Research has been done on several specific museum exhibitions, and it also included the personal efforts in this domain that focused on certain collections kept at the Institute of Theatrology of the Faculty of Dramatic Arts in Skopje. Our research also included the online collections of the Theatre Museum in London, the existing exhibitions of MHAT and other prominent theatre houses, as well as classical museum collections of the theatre museums in Belgrade and Sofia. The direct involvement and inclusion not only in the process of observation, but also in the process of the creation of the object of study generated a specific context in which this study is transposed.

From here to there…memory

Theatre needs memory. Memory extends the life of the theatrical act. If a complete collective memory is absent (not in the psychological context generally known as collective memory), theatre, too, will vanish. The competence of theatre memory is in its collective nature and in the

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