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ISSN 1409-6900 | UDK 82+7     Blesok no. 86 | volume XV | September-October, 2012



                     Peer-reviewed journal
Blesok no. 86September-October, 2012

Aspects of a Dialogical Study of Macedonian and Croatian Drama

p. 1
Nataša Avramovska

I found the incentive for this study in the setting up of a dialogical exchange between two anthologies, which were published as the result of the collaborative efforts between Borislav Pavlovski, a Professor at the Faculty of Philosophy at the University of Zagreb, Jelena Lužina, a Professor at the Faculty of Dramatic Arts in Skopje, Sanja Nikčević, a renowned Croatian theatrologist, and Venko Andonovski, a writer and Professor of Croatian literature at the Faculty of Philology in Skopje. Namely, The Anthology of New Macedonian Drama, which, translated and edited into Croatian by Borislav Pavlovski, was published in 2000 as part of the “Mansioni” edition of the Croatian ITI-UNESCO Center, as well as The Anthology of Contemporary Croatian Drama, which was edited by Sanja Nikichevic and translated by Venko Andonovski, and thus published in 2002 by FDU, in Skopje. It is without a doubt that these two anthologies have abridged the decade-long period of silence, of a certain mutual denial between the two cultures, with regards to the unfavorability of the given social (mis)dealings.

Pavlovski’s anthology introduced the Croatian readership to the plays of Venko Andonovski, Dejan Dukovski, Trajče Kacarov, Žanina Mirčevska, Saško Nasev and Jugoslav Petrovski, whereas Nikčević’s anthology presented to the Macedonian public the names of Miro Gavran, Asja Srnec, Pavo Marinković, Mate Matišić, Lada Kaštelan and Ivan Vidić. The two anthologies mark the trajectory of the new playwrights of the Macedonian, i.e., the Croatian cultural scene during the last decade of the past century.
    My encounters, in the anthology edited by Nikčević, with the plays of Srnec (Dead Wedding, 1990), Kaštelan (The Last Link of the Chain, 1995) and Vidić (Chicken Pox, 1996), as well as the somewhat later encounter with the play A Home of Rain by Marinković (who in Nikčević’s anthology is represented by another one of his plays, Filip Octet and the Magic Trumpet), in particular the dramatic opus of Vidić (Grandma’s Heart, Octopussy, Big White Rabbit), got me to consider the trends which emerge in the new Croatian drama, which in turn, partake on the prospect of depicting social drama through the prism of family drama. Hence, almost on its own accord came the need to examine, comparatively, the traits that this genre holds, on the one hand within Croatian, and on the other, within the new Macedonian drama, while taking into account those Macedonian playwrights which have been represented through Pavlovski’s anthology.

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