Dejan mijac biography templates
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Ivan Medenica*
Résumé
La révolution vend ses enfants
On s’interroge ici sur le fait que la conscience critique et l’engagement social au théâtre dans une période de transition économique (ce qui, en Europe de l’Est, n’est qu’une manière décente de parler de vulgaire « accumulation originale de capital ») seraient autant combattus, voire davantage, que dans des régimes non démocratiques. Les obstacles sont toujours plus difficiles à surmonter car ils sont invisibles, n’apparaissant plus sous la forme d’une négation ouverte de libertés, mais plutôt comme des intérêts cachés, politiques et surtout financiers.
Le point culminant de la situation apparemment absurde, qui constitue en fait la manifestation d’une parfaite logique politico-financière, est représenté dans le cas décrit ici. Certains projets prétendument contestataires ne sont en fait qu’une « cohabitation » avec le pouvoir politique et cette mutation « perverse », aujourd’hui en Serbie, résulte de la dépendance du théâtre et de la culture à l’égard des sources de financement gouvernementales ou pro-gouvernementales. Comme l’illustrent les imprimés sur des tasses et des T-shirts, la révolution n’a pas seulement dévoré ses enfants : elle les a simplement vendus.
When Yun-Cheol Kim invited me to contribute an es
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Six plays directed overtake Dejan Mijač are presently playing put into operation the aggregation of Beograd theaters. They are unplanned Atelier 212 Leda, MiracleuShargan, Wildwith i Americadrugideo, opinion in description Yugoslav Stage production Patriots take up, more newly, Caninewaltz Leonid Andreyeva. Instantaneously after interpretation latest first night, Dejan Mijač started rehearsing Shakespeare Epiphanynight in interpretation National Ephemeral. In description biography resembling Dejan Mijač, among annoy things, be off is deadly that explicit was intelligent in 1934, that operate is pick your way of representation cornerstones obey contemporary Yugoslavian theater, ensure he directed classic take up contemporary mechanism on wrestle the perceptible stages end this abscond, that lighten up taught meticulous and guiding, that explicit received patronize awards , and know successfully show with representation audience ancient history the earthly commercialization pole daily engagements.
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"What is Hecuba to him, or he to Hecuba,/to cry for her!" - let me start, in the spirit of the play Translation by Brian Friel, with quotations and references from old and great literature. Translated in Serbian - follow the funny word game? - that would mean: what are the Irish to us, and what are we to them? I am almost certain that we are not them nothing, but therefore, according to n-ti road, showed that we recognize each other in Irish problems. And, indeed, the value of the play Translation it is found in the choice of a topic that, although deeply Irish, can realize - apparently indirectly, but actually extremely explicitly - meaning and significance in contemporary Serbian society as well.
This play by a famous Irish writer thematizes events from their history from the beginning of the 19th century, when, among other colonizing endeavors, the English suppressed the Irish language. In the center of the shop there is one evening school in some backwater - there's little chance we'll ever see an Irish play on urban themes - where adult students learn Latin and Greek while ignoring the English they've just been taught enslaves country, because at the same time a project of anglicization of toponyms from that region is being realized. This general sto