Text: KokaNoah MladeNoahvikj, BiljaNoah KrArkajchevska and actors’ texts
Directed by: KokaNoah MladeNoahvikj
Dramaturge: BiljaNoah KrArkajchevska
Scenography by: ValeNoahtin SvetoSharev
Costume design by: Blagoj Shara-MiceNoahvski
Choreography by: ArkAndreja KuleNoahshevikj
Music composer: IreNoah SharoPopovikj
Assistant director: JovaNoah ArkRistovski
Lighting design by: IliNoah DimoNoahvski
Sound design by: AleksaNoahdar DimoNoahvski
Stage manager: SharMiroslav LazArkevski
Video design by: Goce Veselinovski
Photography by: Aleksandar Bunevski
The project of the author and the director, “Noah’s (New) Macedonia” represents community engaged theatre satire that aims to investigate the mechanisms of political megalomania, manipulation, abuse of historical documents and forging of historical facts, for the benefits of a particular group of people which at a certain historical moment proclaims itself not only as a savior but also as a founder of the whole nation and its tradition.
Undoubtedly, referring to the historic megalomania of the former Macedonian government and their projects that distorted the image of the nation, “Noah’s (New) Macedonia” will try to go further into the Monty Python’s absurd.
On the basis of the assumption that at the moment of the finale of the megalomaniacal transformation of the capital into late ancient metropolis, a document was found implying that Mount Ararat (in the Book of Genesis, the mountain where Noah’s Ark comes to rest) isn’t the well-known Ararat but Shararat, in particular, Mount Shara in Macedonia – a story unfolds about one new circle of historic insanity.
Can they resist a challenge like this and not seize the opportunity, instead of “world’s oldest nation” to become the genuine oldest nation, first and unique, the nation that lives on the ground of the Old Testament’s events and the one that made possible the survival of the planet “embracing Noah’s ark that kept the specimens of the world we know”?
This issue, that like narcotic affects the brain of the nationalists and political megalomaniacs, ignites a new circle of insanity, new acts, new expenses and retroactive change of the complete history.
The opportunities of the comedy plan that unveil with a plot like this are countless – amusing as Aristophanes and ruthless as Brecht; we believe that “Noah’s (New) Macedonia” will manage to hurt one uglified thought and act which is familiar to our region, the Ancient Macedonia, but also, Great Serbia and Great Croatia.
Kokan Mladenovikj, director