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Европа на сцената на современата македонска драма

100%

Аврамовска [Avramovska] Н. N.

Slavia Meridionalis

2012

vol. 12

Europe on the contemporary Macedonian dramatic stage As part of the topic I decided to speak about the dramatic opus of Goran Stefanovski, mostly for three chief reasons which are elaborated in the paper:1. The thematic constant of his dramatic worldview is to represent Macedonia (namely, the Balkans and its Slavic population) against the ‘big, white western world’ of Europe and the US. This East-West imagological conditionality and juxtaposition of meanings inside Stefanovski’s dramatic worlds provides the basis for the dramatic conflicts in his plays, including those written during the socialist period of his upbringing (Wild Flesh, Tattooed Souls), when Stefanovski resides in Skopje (Macedonia), and writes in Macedonian, and those written after the break-up of the SFRY (Casabalkan, Euroalien, Hotel Europa), when Stefanovski lives and works in Canterbury (England), and writes in English.2. The imagological thematic constant which runs through the European East vs. West in Stefanovski’s opus is something his writing shares with the thematic preoccupations of other contemporary Macedonian dramatists (such as Jordan Plevnesh, Venko Andonovski, Dejan Dukovski). With that, the plays of Andonovski and Dukovski evidently reference scenes from Stefanovski’s works. Along those lines, it’s safe to say that Stefanovski is the paradigmatic (emblematic) Macedonian playwrighter.3. The play-script for Stefanovski’s theatre productions written during the past decade and a half, as integral parts of international theatre projects and productions, have received a wider international acclaim and visibility by the European theatre audiences. His dramatic works allow for the voice(s) of the other, the silenced Europe, to resonate at the center of the European cultural capitals. With that, the interculturality of these theatre projects (performed at all levels of the production), allows for the articulation of the mutual demonization that generates the imagological, ideological and geopolitical difference which exists between Europe and the Balkans. Europa na scenie współczesnego dramatu macedońskiego W artykule autorka poddała analizie dorobek dramaturgiczny Gorana Stefanovskiego, rozpatrując opus tego twórcy w perspektywie trzech zagadnień:1. Stałym tematem dramaturgicznego oglądu Stefanovskiego jest Macedonia (bądź też Słowianie i Bałkany) w obliczu wielkiego świata Europy i Ameryki. Wschód–Zachód jako konstrukcja imagologiczna i zestawienie znaczeń stanowi podstawę konfliktu dramaturgicznego w jego utworach: zarówno powstałych w czasach socjalizmu, gdy Goran Stefanovski mieszkał w Skopju (Macedonia) i tworzył po macedońsku (Dzikie mięso, Wytatuowane dusze), jak i późniejszych, napisanych po rozpadzie SFRJ, kiedy pisarz zamieszkał w Canterbury, podjął tam pracę i zaczął tworzyć po angielsku (Kazabalkan, Euroalien, Hotel Europa).2. Imagologiczną konstantę tematyczną, która sytuuje europejski Wschód wobec Zachodu w dziełach Gorana Stefanovskiego, zestawia autorka z utworami innych współczesnych dramatopisarzy macedońskich (Jordana Plevneša, Venka Andonovskiego, Dejana Dukovskiego), po czym stwierdza, że Andonovski i Dukovski przywołują w swych utworach sceny z dramatów Stefanovskiego – w tym sensie Stefanovski jest bez wątpienia paradygmatem dramatopisarza macedońskiego.3. Scenariusze przedstawień teatralnych Stefanovskiego, powstałe w ostatnich piętnastu latach jako integralna część międzynarodowych projektów i produkcji teatralnych, spotykają się z żywym oddźwiękiem i zainteresowaniem europejskiej krytyki i publiczności. Jego twórczość dramaturgiczna pozwala zabrzmieć głosowi innej, przemilczanej Europy; przy czym interkulturowość owych projektów teatralnych (na wszystkich poziomach spektaklu) prowadzi do demonizacji, która generuje imagologiczne, ideologiczne i geopolityczne zróżnicowanie Europy i Bałkanów.

Image, Europe, drama

63%

Pavlovski M.

Human Affairs

2013

vol. 23

issue 1

56-65

By questioning the ways in which a supra-national European identity can be created in an environment of globalization, this article starts with the thesis that this concept faces problems which must be resolved first and foremost at the national level. By problematizing multiculturalism as a “utopian theory” which does not solve any problems at the practical level, and by viewing interculturalism as a potential danger to “smaller” cultures, this article identifies what it is that hinders the possible acceptance of the idea of a Europe without borders by analyzing plays by Goran Stefanovski. In four of his plays, Euralien, Hotel Europa, Ex-Yu, and Goce, Stefanovski criticizes Western Europe, on the one hand, for constructing a problematic Other, imposing a visa regime, and contributing to its marginalization, and the Balkans on the other, for mythologizing its nationally-romanticized narrative. The paper sheds light on the fact that the acceptance of a common (shared) European identity, a necessity which propagates itself amidst conditions of globalization, is dependent on the ways in which Europe will resolve its problems, such as the marginalization of the Other, way of thinking in binary oppositions, like old/new Europe, rich/poor Europe, and especially (talking about Balkan countries) the phrase South-East Balkan.

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1 Human Affairs

1 Slavia Meridionalis

1 Pavlovski M.

1 Аврамовска [Avramovska] Н. N.

1 2013

1 2012

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Европа на сцената на современата македонска драма

Image, Europe, drama