There is no literary criticism of most of Stefanovski’s plays. Literary critics in Macedonia generally overlook drama as a genre, dedicating much more space and attention to poetry and prose. The works of criticism that we could find scattered on the pages of periodicals, newspapers or scientific proceedings mostly focus on just one play. Unfortunately, there is no text which provides a comparative analysis of two, three or more plays by Goran Stefanovski. There is no adequate periodization of the overall dramatic opus by Stefanovski, while the few attempts at periodization are not sufficiently precise.
Such fragmentary interpretation of Stefanovski’s plays fails to present the full picture of the greatness and importance of Stefanovski’s work in Macedonian post-war literature. Furthermore, there is no adequate discussion of the influence that this playwright during his 35 years of work has had on the many generations of directors, actors and playwrights who have grown up with his works. This is primarily due to the jarring fact that Macedonian literary science has not produced a monograph dedicated to this author who has been widely popular, translated and awarded both at home and outside the borders of our country.