“Peto dejanje” z Nikom Goršičem

Vabljeni k branju intervjuja z Nikom Goršičem. Link do intervjuja: TU


IAB: What is your opinion about the situation and circumstances in our contemporary local and national theater? You are a regular collaborator in Macedonia, as a guest. As a foreign director-actor, what do you notice, what do you like and what is problematic for you about the quality and professionalism within our theater scene? 

NG: The biggest problem in culture and art in the context of the new statehood, is the misunderstanding of the nature of the sudden ideological transition from the socialist-Yugoslav system to an entirely different, capitalist system, where initiative is taken by private capital. And it is often unpredictable, foreign capital! There is not the understanding of the responsibility for culture in our new and small states, which were created on the territory of former Yugoslavia – and in all other Eastern European states that have embraced the capitalist system – where culture, art, and language are a matter of national identity and statehood. And because they are small, they can never be put on the market! Otherwise, we will only have consumer culture without art! It is worrisome – especially in the current transition period, which we do not know when it will end – and the cultural policy of the country must remain firm and responsible! The reasonable cultural policy must make it clear that now is precisely the time when foreigners are taking over all economic institutions, and that more funding must be invested in culture, art, and education. Otherwise, you are lost in the market. It is clear that pro-capitalistic cultural policies lead to destruction. Is statehood also failing? All of us who truly believe in our national identity must be aware of the dangers of this new cultural situation.  I notice, of course, that the attitude to culture is less pleasant in today’s Northern Macedonia than it was in Yugoslav Macedonia. At that time, the Macedonian theater was highly valued and internationally competitive, as were the Macedonian directors and playwrights. The privatization of theaters in Eastern Europe has proved to be catastrophic for theatrical art: commercial theaters flourish, making art institutions almost non-existent. We all know what Russian, Polish, Czech, Bulgarian, Yugoslav, East German and Romanian theater once meant to the world.
They were an inspiration for Western European theater and art. So, with sensible cultural policy, everything will not be lost. The theater of Northern Macedonia still has vitality and luck, which has not yet disrupted the permanent theater ensembles – so let them remain competitive, specifically in our small states in relation to the large ones.