Skopje, Macedonia

Universal Hall 21.00 pm



Mladen Srbinovski

Directed by: Saso Milenkovski
Assistand Director : Sinisa Evtimov
Music: Venko Serafimov
Costumes: Aleksandar Nospal
Scenography: Kire Jovanovski
Roles: Branko Gorcev
Jelena Zugic
Vlade Talevski
Mitko Apostolovski
Nikolina Kujaca
Nino Levi
Dejan Lilik
Jordan Simonov
Mirce Donevski
Kalina Naumova
Dragan Dovlev
Vladimir Endrovski
Producer : BABYLON
Organization: Gode Borsov
Light design: Petru Dimitrov
Sound: Cedomir Mladenovski

While in Europe the ideas about the end of the history, the approach to the post- historical time and the traveling which has ended, function for many years already, on the Balkan it is questionable whether this "process" of the history will ever end. Old Europe "run through" the History so fast and got out at its other side, on the first place due to the products of its spirit; Faust, Hamlet and Don Quixote are at the top of the European Pyramid of the aesthetic values. Gote's Faust had "the power to help European to explain himself" (Eliot), but for us at the Balkan, a territory at the edge of that great civilization, these values are hardly valid and can only be copied in our spirituality. Too great is the trauma that Balkan soul has to experience watching its Faust, through which he has to explain himself. There are no problems in Gote's Faust. The Faustism is problematic, the desire for the absolute, as the essence of Faust. Inevitable is the encounter with the Makedonism, ideology ontologically opposite of the Faustism and hostile for every attempt to overcome the subjective with the absolute truth, and that is the begging of the drama. To sell the soul is inevitable. The Nazism and Stalinism, brother twins of the European totalitarianism, have been turned into the archetypes of the European destruction long time ago. The Balkan question is: which one of them and in what way was digging in "our yard". The life of Venko Markovski with his undoubtedly left engagement through all his life (which means he possessed some consistency) shows something different, controversy and trauma, unknown in our recent history and culture. This text is not trying to rehabilitate or defend, even less to condemn or to dig out someone's bones and bury them in our graves. Venko Markovski should rest in peace. This is an attempt for us with the help of Gote to get out from the history and to enter Post-history, Aesthetics, with theatre, with postmodern thinking and through essays about our collective traumas.

Mladen Srbinovski