Critical Commentaries

CRITICAL COMMENTARIES ON THE WORK OF

GORAN STEFANOVSKI

 

 

1981

 

TODOROVSKI, Gane, “Podaleku od zanesot, poblisku do bolot”, Divo meso, Misla, 1981, str. 134-148  (Foreword in Macedonian to the publication of “The Wild Flesh”, in Skopje, Macedonia.)

 

1982

 

ALEKSIEV, Aleksandar, “Let kon sonceto i slobodata”, Let vo mesto, Misla, Skopje, 1982, str.113-118 (Forword in Macedonian to the publication of “Flying on the Spot”, in Skopje, Macedonia.)

 

1985

 

MARJANOVIC, Petar, Jugoslovenski dramski pisci 20 veka, Novi Sad, 1985, str.196-204 (Entry in Serbocroat in a book on Yugoslav playwrights of the 20th century, in Novi Sad, Yugoslavia.)

 

McKINLEY, James, “Introduction”, HI-FI and The false Bottom, BkMk Press, University of Missouri-Kansas City, U.S.A, 1985, str.3-6 (Forword in English to a publication of two plays)

 

ZIGIC, Tatjana, Tri drame Gorana Stefanovskog, diplomski rad, Filoloski Fakultet, Beograd, 1985 (A graduation paper by a student at the Faculty of Philology, Belgrade)

 

1987

 

CIRILOV, Jovan, “Visoka vernost Gorana Stefanovskog”, pogovor Tetovirane duse i druge drame, Narodna Knjiga, Beograd, 1987, str.

201-220 (Critical afterword in Serbocroat in a book of plays).

 

IVANOV, Blagoja, “Dramskoto tvorestvo na Goran Stefanovski”, Spisanie Spektar, 10, 12, 1987, Skopje, str.29-42 (A critical overview in Macedonian.)

 

STAMENKOVIC, Vladimir, “Tetovirane duse”, Pozoriste u dramatizovanom drustvu, Prosveta, Beograd, 1987, str.156-158 (A critical review in Serbocroat of the play “Tatooed Souls” in a book called “Theatre in a Dramatized Society”)

 

STARDELOV, Georgi, “Dramite na Goran Stefanovski”, Odbrani drami, Misla, Skopje, 1987, str.333-353 (A critical foreword in Macedonian to a book of selected plays) 

 

VAGAPOVA, Natalija, “Dramati~eskii triptih Gorana Stefanovskogo”,

Polet na meste i drugie piesi, Raduga, Moskva, SSSR, 1987, str.

5-15 (A critical essay in Russian as a forward to a book of plays in Russian translation)

 

1988

 

DJURCINOV, Milan, Nova makedonska knjizevnost, Nolit, Beograd, 1988, str. 181-184 (Entry in Serbocroat in a critical overview of Macedonian literature)

 

1989

 

CIRILOV, Jovan, “Dramati~ar posle zemqotresa”, Dramski pisci, moji savremenici, Sterijino Pozorje, Novi Sad, 1989, str.155-175 (A critical overview in a book on contemporary playwrights) 

 

CRNOJEVIC, Svetlana, Od folklornog do egzistencijalnog ili pojedinac i mit, diplomski rad, Sveuciliste u Osijeku, 1989, (neobjavljeno) (A graduation paper in Croatian by a student at Osijek University)

 

FORETIC, Dalibor, “Goran Stefanovski”, Nova drama, Sterijino Pozorje, 1989, str. 252-277 (A critical review in a book on new Yugoslav drama)

 

1990

 

DRUGOVAC, Miodrag, Istorija na makedonskata knizevnost 20 vek, Skopje, 1990, (Entry in Macedonian in a study on Macedonian literature)

 

1993

 

Reviews of Goran Stefanovski’s Sarajevo, directed by Slobodan Unkovski, produced by Intercult, Stockholm as an European Co-production, performed at the Riverside Studios, London, 1993

 

Michael Custow, Independent, 31.3.1993 (“It is unsentimental, pitiless and, in its understated condemnation of Europe’s betrayal of Sarajevo, devastating. It is already a theatrical and civic milestone, created in the harshest conditions”)

 

Time Out, 7.7. 1993 (“Combining cabaret, dance, drama and live music, this is a celebration for the soul rather than the mutilated body of a multicultural city under siege and a lament for what has been lost”.)

 

Sarah Hemming, The Independent, 14.7.1993 (“More effective, though, than any big statements are the telling details, which bring tears to the eyes…It is a complex, rich and very moving production, accumulating details to impart a sense of the horrifying disorientation of war. It contains some fine writing by Stefanovski…)

 

Nicholas De Jongh, Evening Standard, 9.7.1993 (“With black humour and magic, poetry echoing the cadences of T.S.Eliot, in ritualised dance and lamenting song, the city comes darkly into view. Violence is minimal. A half-naked man struggles to stand, each time pushed to the ground. At the end the stage is full of whirling dancers under a fading light, until quite suddenly darkness blots them out. You watch impotent, uncomfortable, appalled.)

 

Sheridan Morley, The Spectator, 17.7.1993 (“The author, Goran Stefanovski, has deliberately gone for fantasy rather than historical or political drama and the result is inevitably both dreamy and whimsical: but in there somewhere is a lament of considerable poetic power for a  lost city”.

1994

Panovski, Naum, “Goran Stefanovski’s Sarajevo or Sara in the Horrorland”, Performing Arts Journal, New York,
Vol. 16, No. 2 (May, 1994), pp. 47-52

 

1995

 

Sarajevo by Goran Stefanovski, The Undermain Theatre, Dallas, Texas

 

Sarajevo is a powerful and searing masterpiece that captures the insanity, sadness, and lost innocence of war. Under the helm of director Naum Panovski, the Undermain’s cast brings beauty and brilliance to Stefanovski’s work, just days before they depart to perform the play at the Ohird Summer Festival in Macedonia.
Hal Karp. The MET, Dallas, Texas. July 1995.

The play works as an elegiac hallucination, never attempting political analysis, but returning again and again to the blank incomprehension that war inspires. In a way, Sarajevo, directed by native Macedonian Naum Panovski, pays grim tribute to the spirit of destruction.
Tom Sime,  The Dallas Morning News, Dallas, Texas. July 1995.

The play as “a meditation and a prayer of hope” for the people of Sarajevo. The point is to get beyond the ideology and understand that these are people living their lives under siege.
Nora Fitzgerald, Dallas Observer, Dallas, Texas. June 1995.

Sarajevo was a prayer for a better world without wars, a world more human and with a human face. Otherwise we will lose both our hearts and minds.
Cvetanka Zojcevska. Vecer, Skopje. Macedonia, July 1995.

The production of Sarajevo, directed by Naum Panovski, performed in front of the St. Sophia church last night was received with acclamations by deeply moved festival audience. It was a production with emotional shining and superb acting.
D.P. Nova Makedonija, Skopje. Macedonia, July, 1995

 

1996

 

Reviews of Goran Stefanovski’s “Ex-Yu”, directed by Nick Kent, Tricycle Theatre, London,

 

Michael Billington, The Guardian, 11.5. 1996 (“…Goran Stefanovski’s “Ex-Yu” about a woman seeking information about her father’s suicide during the Balkan war, is genuinely haunting”.)

 

Michael Coveney, The Observer, May 15, 1996 (“Ex-Yu”by Goran Stefanovski, the most interestingly inflected of the three (responses)…”)

 

Time Out, June-12, 1996 (“Kent’s anniversary production links the righteous past of the Nuremberg War Crimes Trial with three short plays exploring the moral ambiguities of current global conflict: Haiti, Rwanda and Bosnia. The best is Stefanovski’s “Ex-Yu” which transcends exposition and news-cuttings to evoke a sense of loss that is poetically, humanly affecting.”)

 

Independent on Sunday, May 15, 1996 (“…Ex-Yu” by Goran Stefanovski, centres on a young woman in the former Yugoslava, questioning those who were present when her father commited suicide. These plays forcefully locate the principle of Nuremberg – that individuals are personally responsible for war crimes – in the present day.)

 

Charles Spencer, Daily Telegraph, May 11, 1996 (“…while Goran Stefanovski’s contributes a haunting, touchingly tender play about a young woman’s grief and bewilderment in the former Yugoslavia”.)

 

Glenn Newey, Times Literary Supplement, May 1996 (“Goran Stefanovski’s piece is the most adept, partly because it lacks that expository ballast of the others, but also because it eschews…mere re-eanctement”.)

 

Sheena McDonald, New Statesman & Society, May 24, 1996 (“In one playlet, “Ex-Yu”, Goran Stefanovski ratchets our unease. It is a non-partisan and cunning exploration of what doing the right thing means when war comes to your patch of civilisation”)

 

Aleks Sierz, Morning Star, May 24, 1996 (“By far the best is Goran Stefanovski’s “Ex-Yu”, which finds room for humour in its exploration of the horrors of the Bosnian conflict”.)

 

1997

 

Goran Stefanovski, entry by George Mitrevski in Dictionary of Literary Biography 182: South Slavic Writers After World War II, ed. Vasa D. Mihailovich, Bruccoli Clark Layman Inc., Columbia, 1997

 

1998

 

 Dagens Nyheter, Stockholm, 25 June, p. B4 (review of Euralien by Ingegard Waaranpera)

 Svenska Dagbladet, Stockholm, 25 June, p.15 (review of Euralien by Anna Armstrom)

 Expressen, Stockholm, 25 June, p.5 (review of Euralien by Gunilla Brodrej)

 

 

2000

 General Anzeiger, Vienna, 1 July, p.14 (Review of Hotel Europa by Marion Lohndorf)

 Franfurter Rundschau, Frankfurt, 5 July, p.27, (Review of Hotel Europa by Rolf Hemke)

 Bonner Rundshschau, Bonn, 1 July, (Review of Hotel Europa by H.D.Terschuren)

 L’Express, Paris, 6 July, Coverage of Hotel Europa at the Avignon Festival including the front page photograph

 Dagens Nyheter, 23 August, p.B1, Coverage of Hotel Europa, by Betty Skawonius

 Dagens Nyheter, 28 August, p.B4, Review of Hotel Europa, by Lars-Olof Franzen

 Luzina, Jelena, foreword to Ten Modern Macedonian Plays, Matica Makedonska, Skopje, 2000, ISBN 9989-48-310-8

Dupont, Joan, A Mosaic Of Irony Goes West, New York Times, 26.7.2000 (Review of “Hotel Europa”)

 

2001

 Munk, Erika, “Sailing from Byzantium: Goran Stefanovski’s Hotel Europa”, Theater , New York, Volume 31, Number 1, Winter 2001, pp. 128-133

 

 2004

 Theatre Mélange in partnership with the British Council Macedonia

Everyman – an Immorality Play by Goran Stefanovski Macedonian Tour June 2004

 

Makedonija denes, 8. June 2004 Towards the play “Everyman” by Goran Stefanovski, performed by theatre “Melange”. With incredibly defined and precise body language, and with even more perfect scene language, “Melange” taught us a real lesson for contemporary and visual theatre. Compact and perfectly fitted into the scenography, they did not leave even one indifferent viewer  from the audience that was present in a large number. Particular impression left the ability of the actors to present the whole ……… of their characters and the bizarre lives that they lived in during the 90 minutes on stage.

 

2005

 

Cuposki, Atanas, “Intertekstualnosta na/vo dramskiot tekst Cernodrinski se vraca doma” na Goran Stefanovski”, (Intertextuality in the Play “Cernodrinski Returms Home” by Goran Stefanovski), MA Dissertation, Department of Literary theory, University of Skopje, Macedonia

 

2006

 

Panovski, Naum, “New Old Times in the Balkans”, The Search for a Cultural Identity”,  Performing Arts Journal, New York, 28.2.2006

 

Dodovski, Ivan, “Pride and Perplexities: Macedonian Identities on the Stage”, presented at the 12th International symposium of theatre critics and scholars, International Association of Theatre Critics (IATC) and Sterijino pozorje festival, Novi Sad, Serbia, on 27-28 May 2006.

 

Dodovski, Ivan, “Identity and Violence in the Balkans: The Plays by Goran Stefanovski Between the Western Stereotype and Subaltern Voices”, presented at the International conference Theatre and Identity, Faculty of Dramatic Arts, Ss. Cyril and Methodius University, Skopje, Macedonia, on 30 March 2006.

 

Dodovski, Ivan, “Identity and Violence in the Balkans: The Plays by Goran Stefanovski Between the Western Stereotype and Subaltern Voices”, in Jelena Lužina, ed. Theatre and Identity: Conference Proceedings (Skopje: FDU, 2007), pp. 235-255.

 

Dodovski, Ivan, “Tozsamosc i przemoc na Balkanach: o sztukach Gorana Stefanovskiega”, Dialog 5 (May 2007), 132-143. [translation into Polish of the previous paper]

 

 

 

2007

 

Stepanenko Elena Vladimirovna, Kulturologiceskie aspekti perevoda makedonskoi drami na ruskii jezik (na material pjes Gorana Stefanovskogo), dissertation in philology, (on the culturological aspects of the translation of Macedonian drama into Russian, based on the materials of the plays of Goran Stefanovski), Lomonosov University, Moscow

 

Dimkovska Lidija, afterword in Slovenian to Demon iz Debar Maala, Cankarjeva Zalozba, Ljubljana,  2008. ISBN 978-961-231-677-8 (a collection of four plays “Proud Flesh”, “Tattooed Souls”, “Hotel Europa” and “The Demon of Debarmaalo” translated into Slovenian by Ales Mustar, pp. 299-307

 

Unkovski, Slobodan, “Nekoi od slikite so Stefanovski” in  Sobrani Drami, Tabernakul, Skopje, 2007 (Foreward in Macedonian to the book of collected plays by Goran Stefanovski)

 

2008

 

Kern-Stahler, Annette, “Translating the Unspeakable: Interpreters at War Crimes Trials on the Contemporary British Stage”, Chapter 7 in  Cultures of Translation, Edited by Klaus Stierstorferand Monika Gomille, Cambridge Scholars Publishing. 12 Back Chapman Street, Newcastle upon Tyne  (analysis of Stefanovski’s play “The Hague”)

 

Dorovska, Ivana, critical essay “Letmy pohled na soucasnou jihoslovansku dramatickou tvorbu”) pp. 5-16, in “Kdokoli”  in Ctyri Jihoslovanska Dramata, Boskovice, Brno, ISBN 80-7326-122-7, pp. 109-139 (selection of four Yugoslav plays including the Czech  translation of “Everyman” by Ivana Dorovska

 

Klaic, Dragan, “Post-YU theater exile: transitory, partial and digital” in

The Exile and Return of Writers from East-Central Europe: A Compendium, edited by John Neubauer, Borbála Zsuzsanna Török, De Gruyter, Berlin, 2009, pp.497-517

 

Dodovski, Ivan, “Imagining the West: Representation of Europe and America in Contemporary Balkan Drama”, CERC WORKING PAPERS SERIES, No. 2 / 2008, Univertsity of Melbourne, Australiahttp://cerc.unimelb.edu.au/publications/CERCWP022008.pdf (Dodovski Ivan,  PhD in Russian and Slavonic Studies, Research in Contemporary Balkan Drama and Cultural Studies, University of Nottingham, United Kingdom, 2008)

 

2009

 

Ioana Ieronim, preface to book of translations – Un dramaturg macedonean: Goran Stefanovski şi poveştile lui din Estul sălbatic (A Macedonian Dramatist: Goran Stefanovski and His Stories from the Wild East). Published at Liternet, online publisher.
http://agenda.liternet.ro/articol/8615/Ioana-Ieronim/Un-dramaturg-macedonean-Goran-Stefanovski-si-povestile-lui-din-Estul-salbatic.html, June 2009

 

Ieronim, Ioana, “Tales from the Wild Wild East”, in American Theatre,  May-June, 2009, pp.30-31, 69-71, ISSN 8750-3255 (analysis of Stefanovski’s plays and photographs of productions)

 

Foreword by Jan Jankovic in Tetovane Duse, (Vybrane dramaticke prace: Let na mieste, Teovane duse, Zive maso, Hoikto, Cierna diera, Hi-Fi), collection of plays translated into Slovakian by Jan Jankovic, Juga, Bratislava, Slovakia, ISBN 978-80-89030-42-2

 

Foreword by Vele Smilevski to Odbrani drami, Mikena, Bitola, Republic of Macedonia, ISBN 978-9989-55-141-3 (Foreword in English by Vele Smilevski)

 

Vrbek, Boris, Tipologija oseb v dramah Gorana Stefanovskega, Graduate Dissertation, Sklavic Department, Univrsity of Ljubljana, Slovenia

 

Mitrevski, George, Dictionary of Literary Biography on Goran Stefanovski, Auburn University, USA

http://www.bookrags.com/biography/goran-stefanovski-dlb/4.html

 

 

2010

 

Smilevski, Goce, “Goran Stefanovski – A Playwright in the Tower of Babel”, in Shoreless Bridges, (South East European Writing in Diaspora), edited by Elka Agoston-Nikolova, Rodopi, Amsterdam/New York, NY 2010, (Studies in Slavic Literature and Poetics 55), pp.117-122, ISBN: 978-90-420-3020-6, ISBN: 978-90-420-3021-3 E-Book

 

 

2011

 

Vangeli, Nikola, “știle umanității în Ev er yman: An Immorality Play

de Goran Stefanovski (Masks of Humankind in Goran Stefanovski’s Everyman: An Immorality Play)”, ACTA IASSYENSIA COMPARATIONIS, 9/2011, Universitatea de Arte „George Enescu”, Iași

 

Dimitrova, Aleksandra, Postmodernistickite stapici vo dramite na Goran Stefanovski (The Postmodernist Traps in the Plays of Goran Stefanovski), Master Thesis, ISBN 978-9989-59-363-5, 14×20 cm.,184 pages, Blesok, Skopje

 

Warner, Vessela, “Territorial and National Identity in Macedonian Drama”, Balkanistica, 2011, The South East European Studies Association (SEESA) by The University of MississippiVol. 24, pp.221-236

 

2012

Frosa Pejoska-Bouchereau,  Goran Stefanovski : «Fables du monde sauvage de l’Est. Quand étions-nous sexy ? », Littératures de l’Europe médiane après le choc de 1989, Institut d’Etudes Slaves, 2011, pp.143-156)

Press reviews on Le Démon de Debarmaalo, at the Théâtre de l’Opprimé, Paris, March  (http://www.sildav.org/ressources/revue-de-presse)

2012 Avramovska, Natasa, “Europe on the Contemporary Macedonian Dramatic Stage”, Slavia Meridionalis, Issue no.12 /2012, Instytut Slawistyki Polskiej Akademii Nauk, Warsaw, Poland

 

2013

Angelovska, Despina, Кomedijata, utopijata i gradot: od Aristofan do Goran Stefanovski, (Comedy, Utopia and the city: from Aristophanes to Goran Stefanovski), a conference papers аt  „Сите лица на смешното (од антиката до денес)” (“Faces of Humour from Antiquity to Today”), Здружението на класични филолози „Антика“ и Друштвото за компаративна книжевност на Македонија, (Association of Classical Philology “Antika” and Society of Comparative Literature of Macedonia),  2013

Pavlovski, Mishel, “Image, Europe, Drama” in Human Affairs,  Slovak Academy of Arts and Sciences, January 2013, Volume 23, Issue 1, pp 56-65


2014

PRUS, Elena,  PhD, (RE)DEFINING AND (RE)CONFIGURATION OF BORDERS IN THE DRAMA OF THE SOUTH-EASTERN EUROPE, The Free International University of Moldova, ”Apollonia” University of Iaşi

2015

Катица Ќулавкова , Поетиката на новите драми на Горан Стефановски, (Собрани драми, книга 4, издание на Табернакул од Скопје, 2015)