“THE BRAVE NEW WORLD” is the title of the latest ballet premiere, which was performed at the end of last month on the stage of the “Centar” Theatre at the Macedonian National Theatre (MNT). The choreography and direction are by Gordana Dean-Pophristova, in collaboration with Tamara Anastasova. The libretto, written by Gordana Dean-Pophristova, is based on Aldous Huxley’s novel of the same title and represents an interpretation of a utopian “happy” society within a technologically perfected civilization.
With their creative energy and spiritual expression, Pop-Hristova and Anastasova transform this literary foundation and complex structure, through movement and the dance vocabulary of modern ballet, into an intriguing ballet work. The authentically coded vocabulary, distinctive in its structure, is the result of many years of research and the discovery of a personal artistic expression. The dance reaches its culmination through its remarkable compatibility with contemporary techno and alternative music, selected by Mirko Popov. The music serves the purpose of what is sought and expressed, or more precisely, it serves the entire process of creation and the functioning of the creative act.
From a directorial perspective, Gordana Dean-Pophristova divides the performance into two worlds that exist simultaneously. On one side, there is an amorphous mass that transforms into beings without personal identity, with spiritually drained life energy, liberated from their inner voice and guided by the conductor’s baton of the “Controller.” The other world is isolated within the oasis of the few remaining human beings — composed of proteins, calcium, and other organic substances, yet possessing the instincts of people filled with soul, people who remain curious about everything around them.
Curiosity, through John the Savage, leads them into contact with this amorphous mass that suppresses their individuality. In highly striking fragments, the third figure also emerges — the “Controller.” The work, with all its symbolic elements and their functions, through the associative flashes of the choreographic and directorial solutions, which lacked a stronger dramaturgical structure, pulsated more as a choreographic rather than a theatrical act in terms of logic and sensibility. However, this does not diminish the overall value of the performance.
The twelve ballet artists, with their broad range of dance abilities and diversity of expression, were impressive with their energy and enthusiasm. Particular recognition should be given to the strong individuality of Tanja Pastanicki, Lile Milenkovska, Tamara Anastasova, Aleksandra Pendarovska, and Irena Lozinska.
The visual elements — the thoughtfully designed and functional stage space, the exceptionally interesting costumes by Aleksandar Noshpal, supported by the lighting effects — gave the performance a highly distinctive visual quality. This visual impression was somewhat disrupted at the beginning and at the very end by the overly dense artificially created smoke.
