Edited By Tomaz Onic
Pinter in Macedonia: Productions, Translations and Critical Reception
← 102 | 103 → Benjamin Keatinge1
Considering its size (25,713 sq km) and relatively low population (2 million), the Republic of Macedonia offers a surprisingly rich and vibrant theatrical tradition and infrastructure. Leading theatre scholar, Jelena Lužina, notes in her essay “Theatre in Search of a New Identity” that Macedonia’s “long and rich cultural history – primarily an urban one – is made up of a dense mingling of different languages and traditions (Macedonian, Turkish, Wallachian, Hebrew, Albanian …)” while “Its present reality is dominated by what is known as the process of transition, which characterizes all ex-communist countries…” (2004). The purpose of this chapter is to show that in the midst of this transition – and following independence in 1991 and war in neighbouring Kosovo in the late 1990s, plus its own brief conflict in 2001 – the Macedonian stage has found a space for the dramatic work of Harold Pinter. Indeed, while Pinter’s impact and dissemination may have been slow, especially in the pre-independence period, there is strong evidence to suggest that Pinter’s work has established itself in the Macedonian repertoire, while also impacting upon important Macedonian dramatists writing before and after 1991. It would seem that the mid-1990s, as this research will argue, marks the point of “lift-off” for Pinter in Macedonia. Writing in 1994, the critic and poet Ivan Ivanovski tried to establish reasons “for such a long period of neglect of Pinter’s dramaturgical works on the professional drama stages in Macedonia” (Ivanovski 1994). He cites the challenges of...
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