Chernodrinski Comes Home is a theatrical piece made out of 14 smaller pieces. It is light, funny, sad, hopefully suiting the taste of the audience. All the acts brush with Chernodrinski in some way or another, but he does not appear in any of them. There are only authors who look for his traces. Like the traces made in a photo of people passing by, fictional and real. In the theatre these traces become thick and sticky. The stage draws on the energy and shadows of all the actors who have stood upon it.

Originally consisting of 14 scenes, the play was translated by us and adapted into six scenes. Put on in an abandoned house in Valletta, performed by 5 actors who played 19 characters. Thanks to Hugh Grima for lending us his magazin.

Global theatre is most indebted to Shakespeare, but in Macedonian it is Vojdan Chernodrinski who left the deepest mark, even though the last Chernodrinski play was performed in Macedonia in 1965. Whole generations of people have no idea what happened. Something is missing. Is it Chernodrinski or is it us? The author visualised the piece as a doughnut. There is a hole and he built a doughnut around it. The essence of the doughnut is in that organised void - otherwise it would be a bun.

Goran Stefanovski is a dramatist and playwright, born in Skopje, Macedonia in 1952. He has written scripts for a number of productions, dealing with issues of migration, social conflict, post communist transition and multicultural identity. He currently resides in Canterbury. He teaches at Christ Church College and the University of Kent in Canterbury. He is a visiting professor at Dramatiska Institute in Stockholm. His plays have been translated into six European languages.