METAMORPHOSES

Author  Liljana Abadzieva
Directed by: Liljana Abadzieva
Scenography and costume design by: Vasil Abadziev
Music by: Liljana Abadzieva
Lighting by: Igor Micevski

Roles:
Marjan Gjorgjievski
Katerina Anevska
Vasko Mavrovski
Martin Mirchevski
Viktorija Stepanovska-Jankulovska
Nikola Projchevski
Kristina Hristova-Nikolova
Ivan Jerchik
Fillip Mirchevski
Sandra Gribovska

Based on Chekhov’s “Platonov”, Seren Kirgekor’s “Diary of a Seducer” and the poetry of Baudelaire, Rimbaud and Cortazar.

Photography and graphic design: Petar Tasevski and Vasil Abadziev
Stage manager: Mirko Lazarevski
Lighting by: Ilija Dimovski, Igor Micevski
Tone: Aleksandar Dimovski
Technical director: Petar Trajchevski

Premiere: 28th and 29th December 2015

In order to discover something about him, a man should know everything about other people. There shouldn’t be a mood that cannot be felt, or a dead way of life that cannot be brought to life. Is this absurd? Not, in my opinion. When the mechanism of all actions is revealed to us in details, thus setting us free from the self-imposed burden of moral responsibility – the scientific law of delight grows to be a guarantee for contemplative existence.  It shows us in an eloquent way that we are least free when we suffer to act most.  That law traps us within walls and writes on it the prophecy of our destiny.  It is in vain to search for it, for that law is within us. Perhaps we will not notice it, except in a mirror that reflects our soul.

Liljana Abadzieva, director

CHRISTMAS AT THE IVANOVS’

Author: Alexander Vedenski
Directed by Star Angelovska
Assistant Director: John Ristovski
Translated from Russian Olivera Pavlovic
Art Director: Valentin Svetozarev
Costume Designer: Blagoj Micevski
Music: Marjan Necak
Consultant dance: Jagoda Dimovska
Light: Igor Micevski

Play:
Mother Puzirjova: Menka Bojadzieva
Father Puzirjov: Boris Chorevski
Nanny Nastya: Ilina Chorevska
Dunja Shustrova: Elena Moshe
Misha Pestrov: Ivan Jerchikj
Sonja Ostrova: Sonja Oshavkova
Vologja Komarov: Borce Gjakovski
Nina Serova: Juliana Mircevska
Petya Perov: Alexander Kopanja
Varja Petrova: Mary Gjakovska
Beba: Peter Spirovski
Superintendent / Policeman / Judge Aleksandar Stefanovski

Incipient: Mitko Ivanovski
Prompter: Gordana Mihajlovska
Premiere: 14/11/2015

“It is quite easy to talk in an abstract way, but to explain the reality using words is quite difficult” – zen master Kyosei.

We all used to be children…all will be born and be children someday and, someday all will stay children. Children under one sun, children of one planet Earth, children of one Creator. It is in vain to make a distinction between Adults and Children, between Rich and Poor, Black, Yellow or White, Clever and Dumb, Believer and Disbeliever, Beautiful and Ugly, Powerful and Weak, Old and Young, for life has always been life, the death has been death, the experience has been experience, the man has always been a man – just the way he is.

The human has two faces – dark and bright. He usually afraid of accepting or confronting with the darkest side in him and pointlessly fights, but when he acknowledges it, he becomes powerful and goes towards the Light.

We can’t be greater than children the author Alexander Vvdensky writes about, in that way, we will be greater than the Sun, the Earth, the Sky… Or just to come to our senses that just when we think we are Great, those are our ego-states, and they are best identified in the GAMES. Life is a play. Which roles do we have?

“Kozarev or Magarev?” (as Vvedensky says) Kozarev says this to Magarev and Magarev says that to Kozarev, Kozarev to…- constant fights resulting in bloodbath.

The fear comes out of the numerous games and the biggest fear is to get rid of them and to become Nothing on the Life Stage.

Everything is a game, and we make it more and more complicated…

For as long as we live we hopelessly expect something in our life, life happens in living itself. And that can be narrated, it is experienced. Just like the death. Sensation.

 

 

What about the prejudices, the assumptions, the accusations, the intrigues, the judging of other people’s lives? They are nothing, compared to the fear. They are nothing compared to the immensity of the Sun. They are something only compared to your personal life. Does it mean that they are greater than the Sun itself? No. you can only be absurdly comic and when you are most fatal in your standpoint and most enormous in your pain, for it is a game too, where you should fight with the Sun. Will you be the winner? I don’t know. The only thing I know is that the Sun always wins over the Darkness, but there wouldn’t have been light without the darkness. It has always been, but how will it be, I don’t know.

I think to myself that we, the people are lumberjacks of ourselves, and the biggest absurd is that every person wants to have a tree (“his personal tree”, or “ribbon” or “tortoise”), even more that tree to be Christmas tree. We are equal when it comes to this and we will die with that dream.

 

November 2015

Zvezda Angelovska

 

The play “Christmas at Ivanovs’” by Alexander Vvdensky is one of the greatest works of the Russian avant-garde. Written in the style of this renowned artistic expression from the beginning of the 20th century, defined as the poetics of contradictions i.e. defying of the conventional and classical forms and themes in the art and the view of the society, the play itself presents one brand new concept in style and structure, one new “odd dramaturgy” that emphasizes the awkward reception of the world from another angle in order to change the old artistic code and have a radical influence on the social behavior.

By means of a new philosophical view of the world, that dismisses the sense i.e. the logical comprehending of the world, the author uses the poetics of the implausible: combination of stylistics of infantile naivety, inspired by the Russian folklore and on the other hand, ultimate absurd, nonsense, that makes deeper sense rather than the one in the traditionally logical texts and their “ordinary” plots.

Therefore, Vvedensky by embracing the avant-garde idea to free the expression of the usual standards and norms, he explores the new relations between the words which can be clearly seen in the texts and the violated semantic rules. The standards of his expression are the disruptions of the semantics and syntax of the play i.e. the phonetic and semantic devices make the text “illogical”. For instance, the constant change of the conversation that makes the course of the dialogue more senseless, or the situations of illogical fusion of different lines that present only one deceptive unity, dialogues completely based on twists, etc.

That particular expression that defies the rules of everyday language and reflection creates a world that is twisted, unordinary and upside-down in the eyes of the audience, a world that has no hierarchy and traditional values. This “family” history shows children from the age of 1 to 82, nanny that kills a child, parents that celebrate during time of mourning…and everybody dies one after another. Vvedensky uses the deaths as a means of philosophical and esthetical category that enables us to experience ourselves out of the frame of time. Thus, one process that presents the ultimate expression of decay of the human being as an entity/a whole, leads us to renewal, resurrection of the identity in one new sense. The absurdity of the artistic space is a way to come to a revelation that furthermore helps to solve and build the lost relations between the objects and between humans. Time, Death and God are the principal topics in this paradoxical tale, festive and tragic all at once, that sounds like mumbling of the Life in front of the Death.

Through this radical and esthetic method, leading towards illogical storyline, depersonalization, absurd molding of situations, black comedy and metaphysical philosophy, Vvedensky becomes the herald of one of the most important occurrences in the theatrical art – the infamous western theatre of the absurd.

Olivera Pavlovikj

Helver’s Night

Ingmar Villqist

Translated by: Ana Svetozarov
Directed by: Andrej Cvetanovski
Scenography by: Sergej Svetozarev
Costume design by: Marta Dojchinovska
Lighting by: Dimche Spasevski
Sound by: Aleksandar Dimovski
Stage manager: Mirko Lazarevski

Roles:
Sonja Mihajlova
Marjan Gjorgjievski

Premiere: 14.10.2015

This play presents an attempt to show the impact of the external world on a family, the destruction of the home under the pressure of the outdoor occurrences. Marvelously written family story, that even though it is a duologue play it addresses the history of humanity, one life shaken outside its walls, but in their isolation, as well.  Every single sense and emotion is besieged by this psychological play. Something that ruins and destroys everything the family builds. A story told for one unusual family, humiliated family that manages to keep and protect its small but significant world.

SECRET WEAPON

Bratislav Dimitrov

Directed by: Nenad Vitanov
Scenography by: Valentine Svetozarev
Costume design by: Blagoj Micevski
Music: Dimitar Andonovski

Roles:
Filip Mirchevski
Nikola Todorovski
Boris Corevski
Nicola Projchevski
Juliana Stefanova
Ilina Corevska
Sandra Gribovska

Incipient: Miroslav Lazarevski
Prompter: Radojka Dimeska

Premiere: 09.11.2015

ANTONY AND CLEOPATRA

by William Shakespeare

Translation by: Dragi Mihajlovski
Directed and adapted by: John Blondell
Dramaturgue: Biljana Krajchevska
Assistant director: Jovan Ristoski
Scenography by: Valentin Svetozarev
Costume design by: Blagoj Micevski
Choreography: Risima Risimkin
Original score: Miodrag Nekjak

Roles:
Antony (Roman triumvir): Petar Gorko
Octavius Caesar (Roman triumvir): Marjan Gjorgievski
Lepidus (Roman triumvir), Soothsayer, Eros (friend of Atony): Borche Gjakovski
Domitius Enobarbus (friend of Antony): Viktorija Stepanovska
Cleopatra, Queen of Egypt: Valentina Gramosli
Octavia – Caesar’s sister, Messenger, Soldier, Diomedes (attendant on Cleopatra), Clown: Elena Moshe
Charmian – maid of honor of Cleopatra: Sonja Mihajlovska
Iras –  maid of honor of Cleopatra, Messenger, Thidias (friend of Caesar), Soldier, Alexas and Mardian (eunuchs): Petar Spirkovski

Lighting by:  Ilija Dimovski
Stage manager: Mitko Ivanovski
Prompter: Zorka Gjakovska

Premiere: 22nd July 2015

Shakespeare’s great historical tragedy was written in 1606 – the final play of an astounding quartet of tragedies, preceded by Othello, King Lear, and Macbeth. Many (me included) would consider Antony and Cleopatra Shakespeare’s most difficult play, and his sublime artistic achievement. It stretches the limits of the stage to their breaking point, presents a sweep of action and situation unparalleled in Shakespeare and most drama, and depicts characters that are incredibly complex, richly nuanced, and constantly contradictory. Antony and Cleopatra shows the intoxicating affects of Power and Desire, and chronicles the seismic shifts that occurred in much of the civilized world in the waning years of the final millennium BCE. It is also Shakespeare’s highest achievement in terms of verbal poetry. As English scholar G. Wilson Knight says, “in such poetry, we are less aware of any surface than of a turbulent power, a heave and swell, from deeps beyond verbal definition; and as, the thing progresses, a gathering of power, a ninth wave of passion, an increase in tempo and intensity.” This production seeks to harness the play’s turbulent power and create waves of passion that grow and swell and break over an audience. I am deeply honored to direct the first production of this play in the Macedonian language, in a rich new translation by the incomparable Dragi Mihajlovski, and thrilled to collaborate with the tremendous artists of the Bitola National Theatre.

John Blondell, director

Significant people, crucial thoughts, crucial acts, crucial emotions.
A world of passion and fate.
A world where lives and countries are commonly and easily lost, positions changed, wives, husbands and lovers left, friends betrayed and reign desired. Yes, after a while, all of that will be trivialized, will be worn off or the one will dissolve into the other. But at the bottom of the heart that feeling still remains: what’s that that’s really true? Did love have the power of change?

John Blondell’s Antony and Cleopatra is a performance of transformations. One tempting aesthetic concept: the first part of the play is comedy, while the second part transforms into a tragedy.

It captures the play’s cinematic rhythm as one scene dissolves the next, and also its dreamlike quality, with characters becoming someone different – a different character, as they gradually approach their own devastation.

The resulting stage pictures (choreography, costumes, scenography and music) have a strong dramatic force.

Reading Shakespeare, directing Shakespeare, playing and watching is a philosophy of life.

Biljana Krajchevska, dramaturge

HAPPY END

Iddo Netanyahu
Happy end

Directed by Blagoj Micevski
Translated by: Anna Vasileva
Playwright: Olivera Pavlovic
Art Director: Valentin Svetozarev
Costume Designer: Blagoj Micevski
Music: Marjan Necak
Light: Ilija Dimovski
Video: Antonio Bozinovski
Photos: Aleksandar Bunevski
Design: Aleksandar Mitrevski

Roles:

Lea Erdman: Kristina Hristova Nikolova
Dieter Kraft: Ognen Drangovski
Mark Erdman: Marjan Gjorgevski
Anna: Viktorija Stepanovska Jankulovska
Hans Erdmann: Aleksandar Kopanja
Martha: Katerina Anevska

Incipient: Mirko Lazarevski
Prompter: Radojka Dimeska

premiere
June 2015

The dramatic conflict in the play Happy End mainly focuses on one particular problem for the modern man – interpretation of reality beyond one’s own life and one’s own perceptions for it: the influence of unrecognizing or unwilling to recognize the signs of the time we live in, on the intimate, internal and family life, as well as the search for actualizing one’s own life in a sate of isolating oneself from reality finding an (in)appropriate answer to that reality.

The play of the Israeli playwright Iddo Netanyahu, captures an atmosphere of a time, seemingly different from the one we live in, the 30s of the 20th century in Germany. Berlin lives the life of a European centre of culture, the cafés, the theatres, the halls, are all crowded – night life in abundance in the streets. A liberal and well-off Jewish family integrated in that “fascinating world of ideas”, as referred by one of the characters, captivated by the city, refuses to notice the obvious – the real danger threatening them – the galloping Nazism…

By means of constant fight between the external reality and the internal world of the characters, the author creates drama of continual tension in the relations – the characters facing the basic moral and existential issues for their own lives, still linger in the existence crisis.

Indeed, the action develops into drama for what is referred to as real and truthful life: whether the passion for life and free choice to accept or not to accept the challenge of reality will lead to a happy end.

Olivera Pavlovikj

Genocide

Directed by: Ljubisha Georgievski
Scenography and costume design by: Meri Georgievska
Music by: Marjan Nekjak
Lighting by: Ilija Dimovski
Sound: Nikolche Terzievski

Roles:
Hecuba – Gabriela Petrushevska
Agamemnon – Petar Mirchevski
Colonel – Slobodan Stepanovski
Stage manager – Mirko Lazarevski
Prompter – Radojka Dimeska

Premiere: 14.03.2015

The seven parts of this play depict all our stories about the demolition, the atrocities, the peace and the war, the truth and the lie, the man and the woman, about the past that painfully lasts in PRESENT, about the human lusts and failures, about the perniciousness of putting to death. To make this text deeper, Georgievski dedicates it to “the Macedonian mothers who gave birth to one child more than the enemies could slay”. There is not a single moment of void left by this theatre, nor a shadow that wanders around the corners of the stage. This is a theatre that the theatre looks forward to.

Biljana Krajchevska, dramaturge

Divine Comedy

Directed by: Aleksandar Isakov
Assistant director: Jovan Ristovski
Translation from Russian: Olivera Pavlovik
Scenography by: Valentin Svetozarev
Costume design by: Blagoj Micevski
Music by: Marjan Nekjak
Choreography by: Jagoda Dimovska
Lighting by: Ilija Dimovski
Video design: Sergej Svetozarev

Roles:
The Creator: Boris Chorevski
Angel A: Dushko Jovanovik
Angel D: Filip Mirchevski
Angels B, V, G: Aleksandar Kopanja,
Petar Spirovski, Aleksandar Stefanovski
Adam: Borche Gjakovski
Eve: Sandra Gribovska

Stage Manager: Mitko Ivanovski
Prompter: Zorka Gjakovska

Premiere: 28.02.2015

Aleksandar Isakov, the guest from Russia and long-term associate of the National Theatre of Bitola, is a meritorious artist of Russia, chief director of Saint Petersburg National Theatre of Musical Comedy. He is head master of the department for directors and actors at Saint Petersburg Humanitarian University of Trade Unions.
The play “Divine Comedy” by Isidor Shtok is his fourth play at the National Theatre of Bitola. His collaboration with this theatre starts in 1997 with the play “Marriage” by N. Gogol, following “I travel, I travel…” by N.Kolyada (2001) and “Munchausen”  by G. Gorin (2011).

Even though the title “Divine Comedy” has always been deeply connected in our conscience to the name of the legendary Dante Alighieri, this play is not connected with the former. The Soviet dramaturgue was inspired to write this play by the cartoon cycle of the French artist Jean Effel, published in four albums titled “The Creation of the World”. Effel depicts the biblical version of the creation of the world in an original, witty and humorous way for the general public. Those motives serve Shtok to build ironical, but at the same time lyrical dramatic action, centered around love between a man and a woman.

Olivera Pavlovikj

The play “Divine Comedy” tell the story of the birth of love on the earth. There is no heaven that can replace those feelings. What if Adam and Eve hadn’t asked for the forbidden fruit and hadn’t been afraid of the wrath of God? Their children wouldn’t have been born, as well as the children of their children.  We wouldn’t have had them today, too. And undoubtedly, our play wouldn’t have existed.

Aleksandar Isakov

CHICKEN

Author: Nicholas Koljada
Director: Marian Gjorgievski
Scene: Valentine Svetozarev
Costumes: Blagoj Micevski
Playwright Olivera Pavlovic
Light: Dimche Spasevski

Roles:
Juliana Mircevska
Catherine Anevska
Sonja Oshavkova
Alexander Dimitrov
Nikolce Projchevski

Ispicient Mitko Ivanovski Dimitar Mihajlovski
Prompter: Radojka Dimeska
Premiere: 09.02.2015

Nikolay Kolyada, “the sun of the Russian dramaturgy”, as he called himself on an occasion and as others worldwide consider him to be, some ironically some out of admiration – more than three decades is the main  focus of interest in the sphere of theatre.  The most renowned theatres in Russia stage his plays; they are translated in many languages and are performed in Germany, Italy, England, USA, Switzerland…

The “phenomenon Kolyada” is not accidental in the theatre: he is one remarkable playwright – the analysis of his plays is attention-grabbing for there is a lot to contemplate on. Kolyada may be brutal with his naturalism, he does not offer consolation for life as it is, although he does not make the man feel hopeless in his pursuit to conquer the void and nothingness. By accepting the play of his life as his own life, his characters create the opportunity for accepting  themselves as human, thus accepting the world of their own possibilities as a good world for them, too.

Olivera Pavlovikj