Ulysses 1999

Ulysses 1999

On the 27th of March the theater “Anton Panov” in Strumica, after 50 years existence and 299 premieres, has its 300 premiere – “The Spirit of the Can“. The text of this tragicomic farce is written by the young author Biljana Garvanlieva, and the director Goran Trenchovski put it on the stage on a postmodern way. The year before entering into a new century the tandem #1 Garvanlieva – Trenchovski are putting a light on a question – what the spirit was of this century. Through the glasses of the tragicomic farce the everlasting theme Eros is not pink nor sublime, but its backside Tanatos is dominant. The author joins the mirrored picture of the reality with a symbol, an object that will be a sign of this century, a Coca Cola can. The can is a kiss in Peter Pan’s love, a mean of payment and an island which is sinking in apocalypse. But the can is also a Pandora’s box of which the 20th century men, gulping the sweet liquid, sucked all the evil, alienation and destruction. Hence, the spirit that will sign this century is its spiritless, because the only value, love, stays sealed and cast into the sea bottom.
#2 The story, at first side unconnected has compact and encircled structure. The 20th century Ulysses is coming back home to his Penelope. But he doesn’t find her faithful, nor happy for his return, nor alive. The world in which he left her is exhaling, drowning into its own garbage. The only thing that is left is a symbolic Coca Cola can island, the dominant symbol of the scenographer Marjan Pecov – Zahov, that is sinking into the garbage ocean.
Its own dimension of the apocalyptic atmosphere gave the music by Risto Stavrov. Elena Doncheva must have used plastic and live colors to emphasize the farce which is beautifully combined with the Woman’s costumes specially designed to stress her tragedy. The Woman’s, Penelope’s role is played by Maja Veljkovikj. She has incredible transformations, skillfully balancing between the comical erotic fantasies and the tragedy of the death and destruction of the world.
Goran Ilikj in the role of the Man, Ulysses, who is coming back from his trivial trip after nine years, successfully joined the farcical Balcanman with the legendary character. The counterpoise of the Man is the Lover, with his full with energy and explosive play. The farcical effect was strengthen by the Brother, Koljo Cherkezov, and it culminated in the cut – up scene “Man killing fantasy”, where these four actors are arousing film dynamic burlesque. The Old Man and the Old Woman, played by Tinka Risteska and Kircho Gorgiev are the Man and Woman’s doubles from another although not better world. The two Shadows, the Big one – Kiril Zdravevski, and the Little one – Tome Mentinov made the passing from one scene to another unnoticeable and full of fatal mystery and determination.
The Ulysses’ trip in this theater project is not ending just on the Strumica’s theater stage, but it is continuing into audience’s heads, where the final version is completed.

2018-08-21T17:24:00+00:00 February 1st, 1999|Categories: Reviews, Theatre/Film, Blesok no. 07|0 Comments