THE OTHER SIDE
Dejan Dukovski

Director Miloš Lolić                           

Premiere: Tuesday 21st of February 2006 at 20.30, «Bojan Stupica» Stage.
Duration: approximately 1 hour 30 minutes.

LILI
LAKI
MALA 
TRIKI

Set design

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Vladica Milosavljević
Boris  Komnenić
Dubravka Kovjanić/Sena Đorović
Nikola Vujović

Jasmina Holbus

Maria Jelesijević

About the author
Dejan Dukovski graduated in dramaturgy from the Faculty of Dramatic Arts in Skopje (in the class of professor Goran Stefanovski). When he had graduated (1990), he started to work as dramaturge in drama ediitorship at Macedonian television. In 1993 he had become an assistant and in 1996 an assistant professor (subject 'Film and TV screenplays') on the Faculty of Dramatic Arts in Skopje. Since 2003, he has a status of professional playwright. He is an author of about ten plays: Balkanska groteska (The Balkan grotesque, 1988), Poslednji balkanski vampir (The Last Balkan Vampire, 1989),  Siljan Roda šepa (Siljan the Stork, 1991), Džin i sedam patuljaka (The Giant and the 7 Dwarfs, 1991), Balkan nije mrtav (The Balkans aren't Dead, 1992), Bure baruta (Power Keg, 1994), Mamu mu... ko je prvi počeo (Damn he who started it, 1996), Drakula (Dracula, 2003), Druga strana (The Other Side, 2004).  He has also wrote scripts for feature-length films: Svetlo sivo (Light Grey, 1993), Bure baruta (Power Keg ,1995) and Kao loš san (As a bad dream, 2003).

About the director
Miloš Lolić graduated in stage directing at the Faculty of Dramatic Arts in the class of professors Slavenko Saletović i Ljubomir Draškić. He has directed Miroslav Krleža's Adam i Eva (Adam and Eve) in the Bitef theatre and Dimitrije Vojinov's Velika bela zavera (The Great White Conspiracy) in Atelje 212 and that performance had got award at Festival malih scena (International Small Scenes Theatre Festival) in Rijeka.

About the performace
...The Other Side is very special in many ways. It consists of several duo-scenes; so to speak – it consists of intimacy, and you can think that it is typical Dukovski's play until you see that this play goes beyond the scope of the Balkans and that it poetizes universal things. Inevitability that Dukovski is forcing on us is not necessarily negative – it is inevitability of contact. An encounter of two souls is enough for changing the direction of the planet. The enconuter resurrects fight between Eros and Tanatos, only encounter opens other-worldly field. Catharsis, nevertheless, should be sought in the beggining – author gives circular structure (which is characteristic of tragical farce), but circling here goes backwards, with gentle tug – to the other side...
(Taken from the interview with Miloš Lolić that is published
in the programme)

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Reviews
Laughing in Sadness
…Having set this story into an undefined space divided in two sides of the same, Lolić offers opportunities for playing games and uniting the two worlds, and Boris Komnenić superiorly uses this advantage. By the flawless stylisation of a middle-aged man whose destruction starts at birth and who consistently acts in opposition to everything (cheerful when suffering and laughing in sadness), he unites the two antagonistic worlds into a harmonious series of images in which equal roles are played by Vladica Milosavljević and to a lesser degree, both Dubravka Kovjanić and Nikola Vujović.
Željko Jovanović,  Blic

Tragedy of the time

...Director Miloš Lolić and set designer Jasmina Holbus thought out an excellent solution for space, which should specify concept of the whole performance. In the highly stylized, round and white space, which can allude to (self-ironical?) pretension of this play to treat cosmic universal problem, there is just one long bar with mirrors; this scenical denotation is based on the fact that the bar in the play, beside the toilet, is the only spatial point of reference. Actors move that bar between two scenes, counter-clock-wise, and because of that there are numerous metaphorical meanings and some of them articulate just the tragedy of the time; time which goes backwards, impossibility of getting out of one’s existential situation, unavoidability of fate, Sisyphean labors called life... Boris Komnenić, in the role of puppeteer Laki, managed to act compactly as he intended and to make Beckett's figure of the «metaphysical clown»...

Ivan Medenica, Vreme

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