THEATRE

It is known that the popularity of the antique theatre lasted almost one millennium, somewhere from 6th century BC until the 4th century AD. It is also known that the theatrical art experienced its culmination in the time of strong development of Greek, Hellenic and Roman culture. Traces of this antique period can also be found in our geographical areas, and it is exactly evident when these civilizations had topmost achievements here. Archeologists discovered a lot of material evidence to certify this. Most of them were found in the antique town Heraclea Lincestis. That is the case with the remnant of marble head which it is considered to represent one of the most popular comedy writer of the Hellenic period ancient Greek playwright Manander (342-292 BC).

             Theatrical art in this area accomplished topmost achievements in the time of Roman rule. Heraklea’s antique theatre is the best stone witness for this consumption. Here are some other discovered objects to confirm such a conclusion: comic mask presented on the soil plate from 2nd century BC; the famous tragic mask of Hercules, sculpture of white marble from 2nd or 3rd century BC. Two theatre tickets were also discovered made of bone-token , marked for the row and the sit in the auditorium. Some other archeological proofs for the existence of theatrical life in the past can be found here.

          Our curiosity in is not satisfied only with the previous conclusions. One of the crucial questions is what kind of themes was offered to the spectators? Or using the language of modern ethnology- can we “read” something from the repertoire of that time? Theatre analysis had come in some of these conclusions. Its says that the drama and the comedy were the most popular. But the antique theatre was used for other proposes: plays connected with pagan rituals, religious believes, ditirhamb competitions, gladiator games, spectacular parties, etc. There were scenic and analogous plays.

               Different civilizations had different approach towards theatrical game. Ancient Greek tragedy was assigned to treat the subtle philosophical questions, which were imposed by living and human reasoning undulations while choosing the right ways to solve them. As for the Romans, the approach towards all these problems is different - for them the theatrical play is more for fun, circus, and spiritual pleasure. This is true only if viewed from the aspect of a general analysis. The individual “reading” of the literary legacy of these two old cultures tells us that they indebted humanity with capital drama pieces, almost from whole literary types. No one can say that antique Talija and the plays similar to it were not very inspired and generous.

         After fall of the Roman Empire, Byzantine should continue old theatrical traditions, together with all the others who ruled in the middle century in these regions. Immense changes in the cultural and religious life began then. Orthodox Church was not very fond of the theatre. In fact that is the only reason why lots of antique theatres were left to ruin. But in the large cultural centers, for example Istanbul, theatrical art never stopped. That theatre was not what it used to be. Mass performances were nourished, mainly of populist character. 

             Bitola was not very far from the things that were happening in bigger cultural centers. As a Slavic city in that time it had the so-called Besovo games – a way of national theatre, which was anathematized by the church. Specific theatrical forms were performed which often had religious character. Some of those scenic contents, cultivated as ordinary games which have preserved until today: babari, koledari, vasilichari, lazarki, vodichari, rusalii, dodolci, tajane-bojane etc. All of these old Slavic performances, songs, costumes, bear tracks of organizing theatrical forms. In them one can find: dialogue, dance, scene, presentation, primitive mask, unusual clothing: “leading” and “minor” personalities. Probably here we can seek for some of the roots of today’s theatre and modern acting.

                In the time under Turkish reign in Bitola the theatre was nourished through other forms and contents, whose beginnings bore all cultural marks from the oriental countries. At first national theatrical forms were performed the most: karagoz and madahi. The places where people were gathering the most, the following plays were performed: fairs, squares, restaurants, etc. On the course of time European ideas for the theatre spread over Turkish Empire. This is especial present in 19th century. Bitola, as a developed cultural center, was in center of those changes and events. In that time, the most popular were traveling theatrical groups “damen-kapeli”, composed of singers, dancers, illusionist and others, and in the days of fairs the most popular were the dancing group: “chadar-teatrasy”. Without any bigger artistic value, this kind of theatre mainly was for amusement for wider auditorium of viewers. The content of “chadar-teatray” plays was more with comedian and review character, full of mimicry, gesticulation, without elementary scenic means. Usually this low-priced work of art, in conditions of local color and present amateurism of the actors, was supposed to bring the varied audience to the state of exaltation and unhindered pleasure.

             The nineteenth century for Bitola was also known because in that time more and more requests of the European theatre penetrate, concerning the presence of more difficult scenic-artistic contents. The existence of highly creative act in this art presupposed a lot more complicated scenic projects which could only be organized in conditions of specific space, cadres, and technical-technological standards. Especially in second half and the beginning of this century, when the city reputation as a famous administrative, military, and cultural center with consuls and valia, open and rich, with European manners of living, on Shirok Sokak famous theatrical ensembles were present not only from the Balkan but also from Europeans countries. Macedonian awoken national feelings did not lag behind this trend which in the theatrical expressions found a very good way for expressing its own identity.

              Because of this rich theatrical life in Bitola the need of especial scenic room was growing. By the order of the very ambitious Bitola valia  Abdul Kerim-pasha, in 1897 in the center of the town on the place of foregone Muslim graveyards, and in order not to provoke objections at some citizens, only in one night  the prisoners of city’s jail cleared the place and set the groundwork of Bitola’s theatre, which was meant to serve for other purposes as well. The construction work lasted until 1905. After three years the stage was finished. But the expectations of Bitola’s theatrical lovers to have a theatrical building such as the one built in Thesalonniky in 1912, which was build by European example were not realized. Our zealous theatrologists have not yet discovered any written or oral memories, from the construction of this building until 1912 , when Ottoman Empire practically collapsed, that something was performed in this theatrical building. And if there was, what kind of theatre it belonged to.

    We know that the building was used as “café-chantan” and “damen-capeli” (restaurant with singers) and in a well equipped scene for that time entertaining program was offered. That was not all. Primitive oriental performances of different kinds of travel groups from the type “teatar-charadus” were performed here. Low-priced performances of illusionists, magicians, wizards, flame eaters, athlete, pelivani, exhibition of gyms were also given. Dervishes of this place from local religious places, performed religious rituals for the viewers in the theatrical premises. Why this theatre did not work as the similar theatrical institutions in the majors Balkan cities was known only to the Turkish authorities then. Reasons probably were political. Expecting big changes in the Empire, foreigner propaganda had stronger influence in the cultural life. Strong scenic word could spoil the plans of those who came here to divide. In fact only few years later this was clearly confirmed by Balkan wars.

      That cultural Bitola impresses with one more thing, there were four more theatres. The plays were performed in many different places through the town: on “Tumbe café” – during the summer, in “Grand Hotel”, in the Constitutive Club and in many different places. In those conditions of rapid theatrical vividness especially among the young people from Bitola, students intellectuals and craftsmen, many theatrical troupes were founded, which says more about the popularity of this art. Many professional theatres from bigger Balkan centers were quests here. The audience had an opportunity to watch many more complex projects on the stage, performed with professional actors.

      Jordan Hagi Konstantinov-Ginot, who established the theatre in Macedonia, with his written works attributed to the theatrical life in Bitola. Taken by reformation ideas he works as organizer, translator and director on many plays in many our cities. The quests and the theatres from Bitola had very interesting program since the middle of the century. Here were performed many known plays such as: “Besparic”- I.S. Turgenjev; “Madam Sen Zan”- V.Sardy and E.Moro; “Dohodovno Mesto”- A.N.Ostrovski; “Dama so kamelii”- Alexander Dima-junior and many other popular plays.

      The plays that were performed in Macedonian were the most visited. The theme was from our past, closer and more distant. The arrival of Vojdan Chernodrinski, the man who established the professional theatre, gives a special meaning to Bitola. His young Macedonian company was a theatrical ensemble, whose texts in Macedonian had its own loyal audience everywhere. All his work, his theatrical activity and his activity as educator for us have a historic meaning. It is known that he was a teacher in village Mogila-near Bitola in 1897 and 1898, where he wrote several plays and poems. He was often persecuted from the authority that had the control because of his artistic and educational activity. In the beginning he couldn’t perform some of his written works. In 1909 his troop was a guest in Bitola with the plays: “Familija na prestapnikot”, “Zetva” and “Makedonska krvava svadba”. Two of these plays, that had immemorial number of spectators, were performed in the Constitutive Club. Many eminent people, consuls and representatives from the authority were in the audience. Very interesting was the fact that the first play, which was from Italian writer Jakometi, thematically covered some problems that the audience did not like them. But more interesting is that “Zetva” – as a short version of “Makedonska krvava svadba” covered true events from our people’s life under the foreign occupation, which resulted with persecution. Maria and Vojdan Chernodrinski and the actor Pantelej Kurtelov were persecuted from Ohrid to Bitola the next day. The plays were canceled and the troop consisting of many teachers from Bitola shortly after that was destroyed. It was obvious that the people who were responsible for Bitola’s art did not like the revolutionary massages and how fight and freedom were glorified.

      In the years before the Ilinden Uprising many theatrical ensembles were guests in Bitola: Efeev’s troop – “Proletni buri”, “Ernani” from V.Igo, “More bez dno” from B. Nusik etc. Many successful plays were prepared by high school teachers in Bitola (“Egmond” by Goete, “Wedding” by Gogolj etc.). Dame Gruev had a very successful theatrical troupe, which consisted of teachers and young people in village Smilevo. In 1892 they achieved great success with the dramatization of the stories about “Itar Pejo”. The uprising squads took care for the written word.

      The worst years for Bitola’s theatrical life were those between the two World Wars, the Balkan wars (when the theatre was burned) and especially after the World War I when the town suffered bad damages from the bombing. This art was almost destroyed during these years. In this demolished and ruined city there was not a place for creative life. Only the, so called, war theatres sometimes performed plays for the soldiers located few years around the town. They needed spiritual inspiration for enthusiasm rise that was needed in the hard and exhausting trench fights. It is known that famous European theatrical stars came in Bitola and the area. Some people say that in 1916 among French soldiers in Bitola’s area was the famous Sara Bernard.

      Beside these objectively complex political and economical conditions the theatre never vanished in the town. The foreign authority and propaganda saw big political interest in spreading out their culture and language. During the 1920s and 1930s the theatre was greatly helped by these authorities.

      But the art without these sediments always had its price, its creative value. Because of this many young actors from Bitola studied their profession, especially before 2nd World War, in specific theatrical life, in order to establish new theatre in Bitola after the liberation. Many of them were entertainers during the war because not only the fighters but people as well needed it. Dimce Stefanovski, Mery Boskova, Aco Stefanovski, Nikola Avtovski, Vaska Boskova, Mara Georgieva, Petar Pavlovski (scene designer), Sotir Naumovski (costume designer) and many others belong to this group. Sometimes they could find themselves as actors, directors, scene designers, technicians etc.

      The most important date for the birth of the theatre in Bitola is November 14, 1944 when the first play on Macedonian language was performed, that was the one-act play “Georgi Magarevski” by Vlado Malevski. They worked in almost impossible conditions but with great enthusiasm, joy and pleasure. Although they did not have suitable costumes, techniques and other needs the audience received the play with admiration. Aside the mentioned one other one-act plays were performed: “Novi Gosti”, “So krv vo sloboda”, “Orlite na Makedonia”, “Analfabet” etc. Other information that talks about their working enthusiasm in the beginning is the fact that the next day November 15, 1944 they held the first audition for 18 more actors. Shortly after that the was able to stage more serious plays. In January 19, 1945 they performed “Parite se otepuvacka” – by R. Krle – it was a play about the living conditions in Macedonia.

      Dimce Stefanovski was the director, Petar Pavlovski – scene designer and the actors were: Mery Boskova, Slavka Georgieva, Aco Stefanovski, Nicola Avtovski and others; Dimce Stefanovski was Mitre in the play. Years of continuous development of the theatre follow (cadre, repertoire, finacial). The most famous plays from domestic and foreign dramaturgy were performed. The stage in the old theatre was used until 1978/79 when the new theatre was build as a part of “Domot na kulturata”. It is the most modern space, designed for performing the most complex projects from the theatrical art. This meant creating optimal working conditions. The scene is 18 metres long, 18 m high, with portal 12 m wide and 7 m high. The rotation scene is 14 m across. There is the newest technology in the theatre. The theatre has amphitheater’s shape and all 418 seats have complete visual opportunity. The other part is used for showing chamber and other avant-garde texts.

      Today the National Theatre from Bitola is one of the most famous cultural institutions not only in Macedonia but wider. The current achievements and topmost artistic deeds of this ensemble have been confirmed and on the foreign stages in (France, Germany, Russia, Turkey, Australia etc.), which have longer tradition than this theatre. In the last more than half a century the most famous classical, domestic and modern plays have been performed here with equal success. In this period 400 premiers and more than 8000 plays have been performed. The realization of this impressive programme needed the best ensemble. On this stage, except for domestic names, many other great names performed and at the same time there is one group that is behind or on the stage, without whom the beautiful magic – called theatrical play cannot have been born. Talia’s valor but traps as well require too much invention and creative mind in order to solve and touch in this art form her never discovered secrets. The results are many famous: directors, scene designers, costume designers, composers, choreographers and other that are required by this art. The actors have always been the basis of the play at least from the audience’s point of view. Beside the ones that are already mentioned, the same significance for this theatre have the names from the next generations: Olga Naumovska, Josif Josifovski, Dusko Naumovski, Petar Stojkovski – Babec, Joana Popovska, Lubisa Trajkovski, Vladimir Gravcevski and other. In this group belong those that perform the newest program: Ilko Stefanovski, Petar Mircevski, Blagoja Stefanovski, Boris Corevski, Vladimir Talevski, Menka Bojagieva, Sonja Mihajlovska, Petar Gorko, Saso Ognenovski, Valentina Gramosli, Juliana Stefanova and many others.

      Many directors from the country and abroad that worked with this ensemble, voluminously contributed to this art. Among them are these people from Bitola: Dimitrie Osmanli, Lubisa Georgievski, Dusan Naumovski, Dimitar Hristov and other. Famous scene designers are: Petar Pavlovski, who established the doll-stage, Ivan Melnikov, Toma Vladimirski, Vasilie Popovik – Cico, Petar Angelovski, Valentin Svetozarev and others. Sotir Naumovski, Elena Donceva, Blagoj Micevski, Lira Grabul and others appeared as costume designers. There are many other names of the participants that build in part of their creative life in the affirmation of this theatre.

      Many awards and recognition, received here or abroad, get in this theatre’s chronicle. This is about the highest distinction got on many famous theatrical games, festivals, meetings and something similar such as: MES - Saraevo Sterino Pozorje – Novi Sad, Children’s festival – Sibenik, “Vojdan Chernodrinski” – Prilep, Ohridsko leto and other. If we need to separate at least one from many great plays from this period then “Svadbata na Mara” from Vladimir Kostov, directed and by Lubisa Georgievski will take the honorary place.

            Except for the “National Theatre” as a professional institution this art has long tradition, which exists in other cultural shapes in the life of the people in Bitola. A lot of groups of amateur troupes, groups, associations are active in other similar cultural organizations and associations such as: “Domot na Kulturata” cultural and artistic group, faculties, schools and some similar group. These are specific but important cultural impulses that are bred by the young population. Their primary occupations usually are the avant-garde texts. They freshen the program and contribute to enrich the cultural life of the town.