Time of the Moment

Everybody who deals with theatre has a model in his head. So says a theatre director in one of the neighboring countries.
The thing said would be even more explicit if we add, everybody who deals with theatre but also has a shaped character, personal qualities and intellect that separates him from others. Otherwise, dealing with theatre would be an equivalent of shedding crocodile tears and making cheap money.
The definition completed like this gives me the right to believe one hundred percent that most of our theatre people have a theatre model in their heads.
That this is the case I am convinced by many things started, heard, directly said that concern the essence of our theatre.
So for sure a theatre director and a government official had a theatre model in their heads when they told a big stage manager when they found out that she was working in a small theatre in the province: “You know what you are doing, that is, why are you working with those idiots?”
The stage manager remained confused by the lamentation of the two theatre admirers and she started apologizing that she did not intend at all to poor them hot water in their necks.
After she also got reproaching looks, the stage manager realized that in the country she was working, the small theatres, should remain small and unsuccessful at any price, especially when compared to the falsely large ones.
On those insulted by the small theatre I want to tell that it is not those who inflicted the offense that are guilty, but their model in their heads and they should repeat the lesson that says: “Only an exceptionally prepared person who is exceptionally in love can stand in theatre.”
That everybody has a model in his head is proven by the fact that two of our important theatre big sharks (of institutions or generations of theatre workers) nap in some of the political covers and wait for political protection to express their concern with the theatre and offer models that nobody, in fear of nothing else, would wish to destroy.
The theatre models also exists in the heads of those who have the status of cockroaches and they hide, break their heads whenever the lights goes on, and nobody can see them for years, except in days when they came with their cockroach appearances to get their salary, warm meal supplement and travel expenses.
Of course, there are theatre models also in the heads of the actors who publicly on the stand, in theatres or in city transport, say or write something: For years since the independence of Macedonia, the actors indifferently observe how Ministers of Culture change monotonously without leaving traces behind, the theatre directors keep on being appointed by the political parties in power, the theatres continue to sell tickets to trade unions and schools as a mode of their survival, and the university professors keep on having high salaries, without taking any responsibility for their former students taking ten times less money.
The theatre model also exists with the theatrologist Risto Stefanovski, who would say in a conversation: “It is not the provincial theatres that are the problem in Macedonia, but the theatres in Skopje.” The provincial theatres should be helped (only not in the way of the two theatre officials reflected in the sentence – Why are you working with those idiots?) and the Skopje theatres should be rationalized.
What do I know, Jirgy Menszel would say.
I don’t know whether I should say what I know, instead of expressing this theatre model, for which I do not have a single crocodile tear to support.