NEW YORK CITY: This past weekend, I was interviewed on Slovenian national television, Dnevnik, at La MaMa E.T.C. A day after my review of Ivica Buljan's mesmerizing production of Macbeth After Shakespeare, two major European media outlets, one in Croatia and another in Slovenia, published articles about this very physical interpretation of Heiner Muller text which comes "after Shakespeare." Both articles quoted from my text. In the latter case, the quotation lifted from my review is so extensive that my words appear in the title. I am excited to add that my blog, in the theater of One World, is prominently mentioned in the Slovenian article from MMC RTV Slo.
Here are links to these various media outlets:
1) Buljanov 'Macbeth' oduševio njujoršku publiku
http://www.tportal.hr/kultura/kazaliste/164775/Buljanov-Macbeth-odusevio-njujorsku-publiku.html
2) Mini teater New York potegnil "v vrtinec poželenja, brutalnosti in samouničenja"
http://www.rtvslo.si/kultura/oder/mini-teater-new-york-potegnil-v-vrtinec-pozelenja-brutalnosti-in-samounicenja/272658
3) Uspešen nastop Mini teatra pred zahtevno newyorško publiko
https://www.facebook.com/photo.php?v=10150424954343316
For me, the saddest part about this blizzard of media coverage is that the show ran this past weekend from Dec. 8 to 11. That's not enough time for a show to grab an audience. Just when word of mouth has spread, the show is over. How is it possible for the rest of the public to see for themselves what the hubbub was all about?
Revelatory shows like Buljan's come to New York only once in a while. Producing across the Atlantic Ocean is so expensive that there ought to be more exposure for works like this. Add to this the fact that this is a busy season in the commercial theater.
Having seen Buljan's productions last year (Zagreb Youth Theatre’s equally physical The Garage), also at La MaMa E.T.C., I can only hope that the next time this director and the Mini teatar of Slovenia return to New York the current media coverage they gained this time around might be linger in the memory long enough for more New Yorkers to catch their work.
Born 1965 in Sinj, Croatia, Buljan studied political sciences, French and literature as well as comparative literature at the University of Zagreb. As a journalist he worked with the magazines Polet and Start. He served as theater critic for the daily paper Slobodna Dalmacija and is a member of the editorial council of the theatre magazine Prolog. At first, he worked as dramaturg—in Slovenia, France, and Croatia—collaborating with directors such as Vito Taufer, Christian Colin, Jean Michel Bruyere, Krizstof Warlikowski, Ivan Popovski and Robert Waltl.
His productions have been seen in international festivals in Portugal, Spain, Italy, Venezuela, Austria, Greece, Macedonia, Belgium, Switzerland, Russia, Bulgaria, Bosnia and Herzegovina, Iran, Poland, Albania and, of course, Slovenia. From 1998 to 2002, he was the Manager of the Croatian National Drama Theatre in Split. He is also the co-founder of the theatre Mini teater in Ljubljana, where he often works as a director or dramaturg.
He has received a number of prestigious awards, including the Dubravko Djušin Award (1997, for Phaedra), the Petar Brečić Award (1999, for his theatre essays), the Peristil Award (2001, for Oedipus), the Borštnik Diploma and a Special Award from the Jury (2004, for Schneewittchen After Party), the Medal of the City of Havana (2005, for Medea Material), the Borštnik Diploma for best direction and best performance (2007, for Oedipus in Corinth).
Here is my review, entitled " 'Macbeth After Shakespeare' (Slovenia/Croation) muscles its way into brilliance," which I wrote. Enjoy!
http://theaterofoneworld.org/2011/12/11/macbeth-after-shakespeare-sloveniacroatia-muscles-its-way-into-brilliance/
Here are links to these various media outlets:
1) Buljanov 'Macbeth' oduševio njujoršku publiku
http://www.tportal.hr/kultura/kazaliste/164775/Buljanov-Macbeth-odusevio-njujorsku-publiku.html
2) Mini teater New York potegnil "v vrtinec poželenja, brutalnosti in samouničenja"
http://www.rtvslo.si/kultura/oder/mini-teater-new-york-potegnil-v-vrtinec-pozelenja-brutalnosti-in-samounicenja/272658
3) Uspešen nastop Mini teatra pred zahtevno newyorško publiko
https://www.facebook.com/photo.php?v=10150424954343316
For me, the saddest part about this blizzard of media coverage is that the show ran this past weekend from Dec. 8 to 11. That's not enough time for a show to grab an audience. Just when word of mouth has spread, the show is over. How is it possible for the rest of the public to see for themselves what the hubbub was all about?
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| Domen Valič, Marko Mandić, Stipe Kostanić, Jurij Drevenšek, Milena Zupančič in "Macbeth After Shakespeare” | Photo by Miha Frass and SONDA |
Having seen Buljan's productions last year (Zagreb Youth Theatre’s equally physical The Garage), also at La MaMa E.T.C., I can only hope that the next time this director and the Mini teatar of Slovenia return to New York the current media coverage they gained this time around might be linger in the memory long enough for more New Yorkers to catch their work.
Born 1965 in Sinj, Croatia, Buljan studied political sciences, French and literature as well as comparative literature at the University of Zagreb. As a journalist he worked with the magazines Polet and Start. He served as theater critic for the daily paper Slobodna Dalmacija and is a member of the editorial council of the theatre magazine Prolog. At first, he worked as dramaturg—in Slovenia, France, and Croatia—collaborating with directors such as Vito Taufer, Christian Colin, Jean Michel Bruyere, Krizstof Warlikowski, Ivan Popovski and Robert Waltl.
His productions have been seen in international festivals in Portugal, Spain, Italy, Venezuela, Austria, Greece, Macedonia, Belgium, Switzerland, Russia, Bulgaria, Bosnia and Herzegovina, Iran, Poland, Albania and, of course, Slovenia. From 1998 to 2002, he was the Manager of the Croatian National Drama Theatre in Split. He is also the co-founder of the theatre Mini teater in Ljubljana, where he often works as a director or dramaturg.
He has received a number of prestigious awards, including the Dubravko Djušin Award (1997, for Phaedra), the Petar Brečić Award (1999, for his theatre essays), the Peristil Award (2001, for Oedipus), the Borštnik Diploma and a Special Award from the Jury (2004, for Schneewittchen After Party), the Medal of the City of Havana (2005, for Medea Material), the Borštnik Diploma for best direction and best performance (2007, for Oedipus in Corinth).
Here is my review, entitled " 'Macbeth After Shakespeare' (Slovenia/Croation) muscles its way into brilliance," which I wrote. Enjoy!
http://theaterofoneworld.org/2011/12/11/macbeth-after-shakespeare-sloveniacroatia-muscles-its-way-into-brilliance/
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