{"id":2387,"date":"2025-12-21T00:24:22","date_gmt":"2025-12-21T00:24:22","guid":{"rendered":"https:\/\/user19.delovna.finki.ukim.mk\/?page_id=2387"},"modified":"2026-02-11T17:57:25","modified_gmt":"2026-02-11T17:57:25","slug":"%d0%bb%d0%b0%d0%b3%d0%b0%d1%82%d0%b0","status":"publish","type":"page","link":"https:\/\/user19.delovna.finki.ukim.mk\/en\/%d0%bb%d0%b0%d0%b3%d0%b0%d1%82%d0%b0\/","title":{"rendered":"THE LIE"},"content":{"rendered":"
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\u043b\u0430\u0433\u0430\u0442\u0430\"\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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THE LIE<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Florijan Zeler<\/h5>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Director:<\/span>\u00a0<\/strong>Besfort Idrizi
<\/span>Translation:\u00a0<\/strong>Ofelija Kovilovska
Set Designer:<\/strong>\u00a0Krstev Dzidrov - Dzibi
Costume Designer:<\/strong>\u00a0Roza Trajchevska-Ristoska
Music Author:<\/strong>\u00a0Igor Vasilev-Novogradska
Executive Producer:\u00a0<\/strong>Viktor Ruben
<\/span>Premiere Performance:<\/span><\/strong>\u00a0Saturday, 15 October 2022
<\/span>Duration:<\/span><\/strong>\u00a0100 minutes
<\/span>Intermission:<\/span><\/strong>\u00a0No
<\/span>Stage:<\/span><\/strong>\u00a0Main Stage<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Director's note:<\/strong><\/p>

\"The Lie\" is a text that speaks to how honest we can be, especially in intimate relationships\u2014specifically when, how much, and if it is even permissible to lie at all. Although a first encounter with the text might give the impression that its main theme is marriage or infidelity, as the title itself suggests, the actual focus of the text, and consequently our production, is the phenomenon of lying.<\/p>

We live in a \"false time,\" a time when lying is a generally accepted practice, whether it involves white lies, false representation on social media, fake news, false promises, offers, projects, buildings, or policies\u2026 we are exposed to lies of various scales every day. Hence the idea to work on this specific text, where through a comic approach, we will focus on these social phenomena which, unfortunately, are becoming so frequent that lying has developed into a socially acceptable norm.<\/p>

In \"The Lie,\" although Florian Zeller concentrates on marital relations, he succeeds in offering us a wide palette of concepts, perceptions, and practices of lying. By placing the married couple within the scale of a microcosm and observing all the cause-and-effect conditions arising from the lies in which the characters are wrapped and continue to involve themselves, we can easily envision the resulting analogies that apply to society as a macrocosm.<\/p>

As part of the palette of various concepts of lying, we will have the opportunity to face the sayings: a lie has short legs; a liar must have a good memory; as well as the notions that lying is always wrong, except when there is a good reason for it (which means it isn't always wrong!); or that lying is, by definition, providing information while believing it to be untrue, with the intent to deceive, or at least to mislead, the person being lied to (whereby the information itself does not always have to be false).<\/p>

Furthermore, if we continue to develop the analogies between the aforementioned micro- and macrocosm\u2014i.e., the married couple as an embodiment of society\u2014then what happens to the characters on stage can easily be attributed to society as a whole. This leads us to a conclusion reached by many philosophers who have studied lying. Namely, people lie most easily about socially acceptable norms. And if lying itself becomes a socially acceptable norm, then the general level of truthfulness drops; people are encouraged to lie; it becomes harder for people to trust one another, and the same happens regarding institutions; social cohesion weakens; no one trusts anyone, and ultimately, society collapses.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Cast<\/h5>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Jordan Simonov
Gabriela Petrushevska
Oliver Mitkovski
Dragana Levenska<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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CREATIVE AND TECHNICAL TEAM<\/h5>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Translation:\u00a0<\/strong>Ofelija Kovilovska
Set Designer:<\/strong>\u00a0Krstev Dzidrov - Dzibi
Costume Designer:<\/strong>\u00a0Roza Trajchevska-Ristoska
Music Author:<\/strong>\u00a0Igor Vasilev-Novogradska
Executive Producer:\u00a0<\/strong>Viktor Ruben
Program Catalog Editors:<\/strong>\u00a0Mila Angjelkovikj and Ivana Jarchevska
Catalog Proofreader:<\/strong>\u00a0Todorka Balova
Poster Designer:\u00a0<\/strong>Oliver Mitkovski
Program catalog designer\u00a0<\/strong>Dimitar Dimitrov
Photographer:\u00a0<\/strong>Kire Galevski
Technical Director:<\/strong>\u00a0Gunter Kube
Stage manager:<\/strong>\u00a0Aleksandar Rajkovski
Prompter:<\/strong>\u00a0Miroslav Atanasovski
Lighting Engineer:<\/strong>\u00a0Daniela Atanasova
Chief Electrician:\u00a0<\/strong>Darko Mladenovski
Sound Master:<\/strong>\u00a0Stefan Mihajlovski
Props:\u00a0<\/strong>Sne\u017eana Grn\u010darevska
Wardrobe:<\/strong>\u00a0Skender Berisha, Valentina Chonkova
Makeup and Hair:<\/strong>\u00a0Branka Plja\u010dkovska and Monika Vu\u010dkovi\u0107
Set Decorators:<\/strong>\u00a0Savo Ivanovski, Vasil Meshkovski, Pavle Kralevski and Martin Kitanovski
Set Construction:<\/strong>\u00a0Tatjana Hristoska (Workshop Manager), Ilija Nikolovski (Carpenter), Adnan Mehmed (Upholsterer), Angel Petrovski (Sculptor) and Zoran Minovski (Locksmith)<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>","protected":false},"excerpt":{"rendered":"

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