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ISSN 1409-6900 | UDK 82+7     Blesok no. 05 | volume I | October-November, 1998



                     Peer-reviewed journal
Blesok no. 05October-November, 1998
Theatre Reviews

A Wrong Plot at a Right Time

p. 1
Biljana Garvanlieva

While the National Macedonian Theatre MNT during it's 53 years of existence have never (sic!) included William Shakespeare Hamlet in it's repertoire politics, Dramski theater in Skopje these days places this text again after 21 years pause since it's last (then appraised as) disastrous performance, directed by Slobodan Unkovski. This time, the interpretation is in directors' Vlado Cvetanovski different, more provocative and more experimental visual point of view.
    Hamlets multilevel structure offers great director provocation in actualization of the rotten Denmark, where dead Kong's spirit walks, needing the sons revenge. The guards and the prince are frozen to the heart from cold and fear of the possible war. But, Vlado Cvetanovski instead of this plot, for more provocative director conception takes it's own and educated publics position, to which Hamlet is known as archetypical dramatic character.
    Starting intuitively from this deconstructive position, he recomposes the text, removes the guard scenes, the spirit, the revenge, the slaughter, alluding to recreate Hamlet as general mythological hero with goal to answer the metaphysical question. Do I wont to die, sleeping?
    This inner static, metaphysic leading characters motivation isn't always precisely dramatically determined in the microcosm of the play.
    While the swords effective appearance that falls from the backdrops and stubs Hamlet (and all of us) in the first scene, marking his (ours) grave, the fall of the second sword in Hamlets mothers bedroom, was only melodramatic effect. The universal book that Hamlet reads doesn't have dramatic nor metaphysical meaning, because it doesn't point out that it is Hamlet book.
    Until the established Hamlets intimate world and his work room don't answer the question: Who is Hamlet?, the metaphysical microcosmos world is established by Vlado Gjoreski's functional and film scenery.
    It is deeply thought – out and with it's mental construction opens the scenery – the royal castle, which becomes river (with Ophelia's dead body floating), grave (with mausoleum dimension), characters rooms (with no secrets and no doors), transparent curtain (net) through which the audience looks as in a dream or as it has been trapped. This scenery gives the audience possibility of reading other spaces-jail, postapocaliptic state, theater, state-machine that grinds everything in front of her, Hamlets “head” death areas… Even though black is basic scenery color, it doesn't except the visualized death, uncontrary, it digs up white marble applicated on the castle. With that it follows directors moral concept and lightens the idea of Hamlets and all other

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