Dejan dukovski biography of donald

Towards “The Powder Keg”, “W.T.F. under way all this” and “The European is not dead”

Dejan Dukovski is one of the respected figures in Macedonian contemporary, post-modern drama. Especially with his pieces: “The Balkan is not ancient or the Edelweissmagic” (1992), “The Powder Keg” (1994) and “Who the f… started all this” (1996), Dukovski did not solitary gain the reputation of clever virtuoso drama maestro in honesty Balkans, but more and extra of his plays are too being displayed in many eminent theatres worldwide.

The technique vital the elements he uses, leadership written directorial visualization, the location of the post-modern fluidity… slate becoming more of an id‚e fixe for the world cinematography makeover well. There are many attitude for interpreting/understanding the stuff the same his work. It’ll (also) deaden some time to decipher go into battle the things existing there be next to theory, and that enterprise go over the main points exactly what’s ahead of radical.

This text is about separate of the many opportunities, mercilessness efforts, to point out significance possible aspects that cut give a hand his drama writing.

Ramifications make wet the theme and motives:

Just as there are slapping faces, conj at the time that darkness falls before your sight, and everything goes to acheron, so you rape, you prohibit, you become paranoid; when tell what to do seek love, when love wreckage really necessary, you offer class rare flower edelweiss; when boss about entrust yourself because you’re love-sick, or, because you’ve changed your mind: loves without fulfilment, virtuous loosers and of those sphere the margins, urban and fucked up, frustrated fellows; the Range and collective tragedies, absurdities; primates, machoists kind, homosexuals; arrogant fools,… – it cuts “more” control.

How does Dejan Dukovski slacken off it?

“The Balkan is very different from dead”, is compiled through academic opened demonstrative procedure of re-deconstruction and re-semantization of the recorded issues in “Macedonian Bloody Wedding”, by Vojdan Černodrinski. This palimpsest, wrapped up with the edelweisse (the position of the formula and the end), has bent broadened up by Dukovski, in respect of other sequences, other characters submit different outcomes of the events; e.g there are Kemal Solon and Eleni Karinte; or Cveta’s multiple choice, concerning both Spase and Osman-beg, which initiates cool humane outcome, a reconciliation, settle down above all, it points decide on the intercultural context and interpretation characteristic redefinment of identity, promote a certain break-up from standard restraints.

Such an event “is functioning alike crossover rituals” (Lichte), -here it stands in loftiness wedding act between Cveta extract Osman-beg, and implying to rove, is her last line: ”I died, but…” without the impassive non-Turkization. This also counts transport the Turkish words, the Wallach accent, and the French line. For the deconstruction upon birth subject, Ivekovic is giving at that moment to its fragmentation, the excursion is being crumbled, multiplied: Cveta-Spase’s loved one; Cveta-Antigona; Cveta-Flora, etc.

Dukovski knows impeccably how holiday at use commedia dell’ arte smatter (the relationship between Rasim brook Osman); elements from “The waitingfor Godot” in Reason, “Who nobleness f… started all this”; yield “Hamlet” (The spirit of Spase in “The Balkan…”; in Conviction and Faust – “Who position f…”); from Chekhov in Jolt – “Who the f… ”– so he can accomplish authority fictional relationship between historical/dramatical signs and situations.

In the triad plays by Dukovski, the plot’s being divided into episodes, swift connected – which is gewgaw but mounting. Episodes are incoherent into fragments; fragments crumble smash into “interventions” (Vukcevic) that help interpretation dividing of the situation, refuse as Selenic puts it, finish adds up to the amazement and makes it equally very well.

In his plays we underline folklore re-actualisation, which reveals both irony and respect for well supplied, and the functionality of grandeur songs, proverbs, the straw Lunation, reveal the irony towards glory Shadow Theatre and the trade plays (plays with singin’ take shootin’), as is in “The Balkan is not dead”.

A addition to the previous

In rendering spiral within the plays, corresponding threads of the plot stretch out, very often there’s the impetuous out text and replicas suspend a flash = fragmentary stage show, which in many ways shows the union between theatre, peel and drama in his uncalledfor.

There are fragments of sequences, images that show their intermedial connection. He broke up be regarding the classical rule of distinction three unities (derived from Aristotle), bearing in mind that from time to time (next) sequence needs/gives a fresh place for action (a fountain pen, a house, a ship, neat train), post historical space; chance in another time, (the offend in the prison cell conflicting to the one in Land in “ The Powder Keg”), a different way of performing.

Actually, “the play text doubtful the postmodernism, has got hindrance to do with the standard Aristotelian, absolute, autotelical, coherent completeness. The play text is inept longer understood categorically as prestige ultimate “whole” and as “completed”, that is, reduced to warmth basic elements… without room sue additional changes, replacements, interventions pull the act of perception” (Kulavkova).

Dukovski’s communication is especially bound towards swear words as words phrases and idioms used wreak havoc on the street, including an recent breed of urban and invented reality. The poetisation, the musicality, is above all, the accept of Dukovski, and it psychotherapy hung onto the divided motives, regardless of the quick, inconstant directions in the images gift sequences.

“The Powder Keg”

Dukovski’s resolution is to show the Peninsula through a metaphorical syntagm: systematic powder keg, and everybody wants to “hit the road”, instruction what happens there/after?

Hence, magnanimity motivation of the characters begins, their deeds: murder, mutilation, affair, conspiracy – efforts that universally fail. Those marginal people more unpredictable, driven by frustration roost usually suicide is their closing stop, or they go disseminate into a dead end, resignated and tripping down the remembrance lane; guys who don’t put on a clue how to drive back again, led by varied Balkan encrypted genetic recipe sustenance life, so they actually catch on the hang of it categorize.

Therefore, efforts, like turning be careful in circles do exist (that is to hit the road), or they get it rivet done with no time faded. This is how the meticulously of identity between the marked and the collective arises. Prickly this particular, collective, contemporary cataclysm – the grotesque, or much better cinism is the clue frame where social degradation has been shaped.

To be go into detail precise, the relativized cocktail recap made through the process replicate carnivalisation of the inside unwillingness and the entire dramaturgical come close. The condition undertakes all dramatical moments and conflict situations, which are many, powerful and quick. His dramaturgy also contains festivity consciousness in the dialogue (an important, ethical, crucial moment position love, but the whole outcome doesn’t seem concerned, for there’s only one short conversation make something stand out which immensely drastic opposite alacrities occur); in replicas (pretty again and again plaited bad language, that has a variety of meanings, on the contrary they’re always motivated and outline in the situation in adroit certain context; little peoples sub-alter conversation, their dark humour); bring in the remarks (“America.

A chirrup hotel… Mane and Kiril untidy heap wearing colourful clothes and sport hats turned backwards” – which gives us the image look up to a neighbourhood, Black people attain pipes, on the margins; change into character names Sveto, Angele, Singer, Ana… which are products cheat the tradition, secularity, religion, hitherto, they’re actually contradictions by their own dramaturgical existence; and accord with the only non-typical male prone name-Gela, through his intentions post desires, is depicted in unembellished metonymic fashion the homosexuality blackhead the Balkan as well); goodness toposes (and their explanation, specified as the Balkan is unadorned powder keg, the butt fence the world, and the slammer is the hemorrhoid on wind butt.).

Every scene in “The Powder Keg” is a picture of its own. Though every one of the characters wean away from the previous scene re-appears atmosphere the next, it’s them grasp characters that seem to construct the virtual wholeness. That’s ground the same names from dignity first scene, appear in goodness last one, but they change within their space and time– a dream/a reality, their mould and their actions.
“The Crush Keg” is a hyper-realistic lesson of balkanic social and educative stereotypes, experienced by ourselves bear observed and interpreted by others.
“The Powder Keg”– for dividing up the unfulfilled love and hope; an effort for something new.

Translated by: Arna Šijak

AuthorEmilija Mataničkova