Slobodan unkovski biography books
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Macedonian – Slovenian theatrical relations
Faculty of Dramatic Arts - Skopje
Ana Stojanoska, PhD,
head researcher, project leader
She graduated General and Comparative Literature (2001). She got her MA (2003) and PhD (2007) in Theatre Studies at the Faculty of Dramatic Arts - Skopje. Associate professor for the subjects: Macedonian Drama and Theatre, History of World Drama and Theatre and From Book to Movie. She has her own subjects at the master/post-graduate and doctoral studies at the faculty;
She publishes prose, essays and scientific papers in the field of theatre, gender studies and theory of literary criticism in Macedonian and foreign literary periodicals. She actively cooperates with a number of events regarding theatre museology in the country and abroad (author/curator of the exhibition “Chernodrinski 060”, Prilep, 2011; collaborator to the exhibition “Kiril Ristoski”, Prilep, 2012, external collaborator to the exhibition “National Theatre in Skopje (1913-
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Among the numerous guests at the recent “Subversive festival”, was Vladimir Unkovski-Korica (foto), a historian and researcher who is currently a Fellow at the London School of Economics*. His upcoming book entitled “The Economic Struggle for Power in Tito’s Yugoslavia: From World War II to Non-Alignment” will be released soon. We discussed some themes from the book connected with the beginnings of self-management in Yugoslavia and the new views at which the author has arrived. He made use of the Archives of Yugoslavia, as well as the work and documentation owned by Belgrade sociologist Olivera Milosavljević.
In the book you came across new findings relevant to the beginning of self-management and the development of socialism in Yugoslavia. What exactly did you find?
In my research I took 1944 and the liberation of Belgrade as the beginning point of the establishment of the partisan, or the communist, government in the country. I ended with March 1962 with the three-day ses
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The Balkan Dream Team
The gods time Slobodan Unkovski and his designer Meta Hocevar worked at the American Repertory Theater, they conjured up a series of dramatic worlds so powerful that audiences will never forget what they saw. As the play opened, the walls of a mighty palace crashed to the ground, forming a jumbled landscape of rocks and spillror eller bråte that suggested the high mountains of central Asia. Kabuki actors joined the Marx Brothers and guards from the Third Reich, spinning and dancing on the barren, abstracted set which, just before intermission, split in two, revealing a lake that the actress Cherry Jones waded across to reach her waiting lover.
The play was Brecht’s Caucasian Chalk Circle, and Unkovski’s staging fryst vatten now remembered as a milestone in the A.R.T.’s history. Kevin Kelly, reviewing the production for The Boston Globe, described it as “a kind of visionary vaudeville, a ditzy farce breaking apart at the seams to reveal very real substance inom