Whenever I think of our planet Earth and of every sigle thing that exists on it, it takes my breath away, my body bristles out of thrill, I am in ecstasy and shed tears for our living… Are we, the humans, destroyers or creators?

Jovan Ristovski, director

Shakespeare’s Sonnets are exquisitely brave, unconventional, lucid; Shakespeare plays with them, provokes, introspects himself and us – presenting us with one complex view of the life we can never distance ourselves from as well as from the reassessment of the crucial problems of the modern living.

Provoked by this dramatic potential of the Sonnets and perhaps never knowing that his Sonnets will be staged, the director Jovan Ristovski creates same extraordinary theatrical world with dramatic basis– material inspired by this very poetic works. I say extraordinary not only in sensibility, but in form, content and expression, as well because this play has its own expression, from the language it uses (gibberish) for articulating explicit speech – that nonetheless comments the humour that today it unfortunately is still called comedy.  Let’s return at the beginning. The title of the play “Sh” implies end and the “the end” of the play should indicate new beginning:

Look in thy glass and tell the face thou viewest
Now is the time that face should form another

Beginning out or in the world of the Wiches (Kurintikite) that create” theatre”, similary to the masons of “Midsummer Night’s Dream” , a world that is constantly being “infected” i.e. assimilated and destroyed by the Human – the main destroyer of every natural or social construction and eventually of the imaginative and the creative one. Taking advantage of the conformism in the name of “love”, he deforms everything material and immaterial. He is the one that makes the decision: Individual vs collective, stereotypes and prejudices, criticism or conformism, emotions or sense. All around us; silhouettes, pop culture, stylized and expansive gestures, archive of acting emotions and comments connected to the modern reflectioning, lights, indecent sounds, peculiar wigs – symbolism that perhaps somewhere will barely go through the end. And which end will it be? In fact, the strongest argument ends in the audience – it is the eye where the reflection of the scene can be seen: to become the change we want to see in the world.

Biljana Krajchevska, dramaturge