Dejan dukovski biography of william shakespeare

Dejan Projkovski was born 1979, in Bitola. He received a Bachelor’s and a Master’s degree in theatre directing from the “Krastyo Sarafov” National Academy for Theatre and Film Arts in Sofia, Bulgaria, in the class of Professor Krasimir Spasov. He has been working as a theatre director in the Macedonian National Theatre – Skopje since 2010.

Theatre Directing

• Death and the Dervish (2020) by Mesha Selimovic, production of National Theatre of the Republic of Srpska, Banja Luka, Bosnia and Hercegovina
• The Brothers Karamazov (2019) by Fyodor Dostoyevsky, adapted and directed by Dejan Projkovski, production of the “Ivan Vazov” National Theatre in Sofia, Bulgaria
• Anna Karenina (2019) by Leo Tolstoy, production of the Novi Sad Theatre/Újvidéki Színház, Novi Sad, Serbia
• The Oresteia (2018) by Aeschylus, production of Croatian National Theatre – Split, Croatia
• The Powder Keg (2018) by Dejan Projkovski, production of Montenegrin National Theatre, Podgorica, Montenegro
• The Gambler (2018) by Fyodor Dostoyevsky, production of National Theatre – Bitola
• Romeo and Juliet (2017) by William Shakespeare, production of the Istanbul State Theatre, Turkey
• Prometheus (2015) by Aeschylus, production of Turkish Theatre – Skopje
• Dangerous Liaisons (2014) by Choderlos

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The Balkan Dream Team

The last 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 rubble 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 is 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 inside the stuffing.”

A decade after their Chalk Circle, Unkovski and Hocevar are returning to the A.R.T. to stage another sprawling epic that joins real substance with vaudeville, Shakespeare’s late masterpiece The Winter’s Tale. In the years since their last collaboration in