ISSN 1409-6900 | UDK 82+7 Blesok no. 60 | volume XI | May-June, 2008
Blesok no. 60,
Life as a Garbage Dump of Rejected Dreams (in five images)
(Tomislav Osmanli: "Characters from Meanwhile", Blesok, 2008)to.jpg
The Balkans as a cradle and paradigm at the same time, as a superior and unreachable pattern of all the wealth of the genuine human substance. The Balkans as a synonym of the time in which the humanity has not passed through destiliations, various boilings and cleansings yet, a place where the humanity has not determined yet, thus not negating itself in all other possibilities, but also as state of authenticity as opposed to the surrogate reality of the rest of the world. The Balkans as a place where all the possibilities are still open. The Balkans in which… at that time, although still unrecognized, un-independent and un-sovereign, Macedonia continues to live idyllically and peacefully… The Balkans in which… unlike the crazy Europe… Macedonia goes on slowly, easily…  and where at the beginning of this new century Macedonia, as still unrecognized, has accepted the race of the crazy Europe. The Balkans of Tomislav Osmanli via his characters, human destinies of the time in between.
We leave intentional and unintentional traces in the lives of others, G. Stefanovski says in his foreword to his play Чернодрински се враќа дома [Černodrinski Returns Home] (Скопје: Магазин 21, 1992). This play of his indeed follows buried traces, true and necessary, assumed and possible left by nobody else but his creative father, the father of the Macedonian play and theatre. Traces like these are recognized in the subjective images of the objective Balkans created by Osmanli himself on behalf of his creative father – Manaki, the eminent cameraman from Bitola and the Balkans. The text for the editing documentary “with fictional elements” has seriously confirmed this attempt as a success. Thus, through the mute images (more precisely through the voice of the author himself, via the instructions to the directors and stage setters in the printed form of the documentary), he manages to give and ironically transferred image of the Balkan history of the last century in most of the work of Milton Manaki (2008:7). Intertextuality does not imply anonymity, but a reaction of the current author to his poetic father (predecessor).
1. The term image in this text is used in a double meaning. Initially it means a stop-shot or a photograph and this meaning is behind the name that this image has, or more correctly, behind the title of the image: The Balkans, Manaki, Film, Violence, Garbage Dump. But this term also comes close to what an image, i.e. scene in a play or a script is. In this context, the developed text that follows each title, after each stop-shot means specifying, detailing, describing, but also developing of the shot. Thus, in this determinant, the dichotomy static – dynamics is also revealed via the dichotomy photograph – film.
2. See Ф. Мухиќ. „Балкански антрополошки апејрон на Сатанските стихови“ in Салман Ружди. Сатански стихови. – Скопје: Култура, 1990.
3. Томислав Османли. Ликови од меѓувреме. – Скопје: Блесок, 2008, 17.
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