Goran Stefanovski


Goran Stefanovski was a leading Macedonian dramatist, screenwriter, essayist, lecturer and public intellectual. He wrote for the theatre, television and film, as well as pursuing a long academic career in teaching creative writing for the theatre and film.
Stefanovski is best known for his second play "Wild Flesh", which won the 1980 Sterijino Pozorje Theatre Festival Award for Best Yugoslav Play of the Year and the same year earned him the 11th October Prize, the highest award of what was then the Republic of Macedonia. He wrote 23 full-length plays for the theatre in all. The most widely performed internationally are "Wild Flesh", "Hi-Fi", "Flying on the Spot", "Tattooed Souls", "The Black Hole", "Chernodrinski Comes Back Home", "Sarajevo, an oratorio for the theatre", "Hotel Europa", and "The Demon of Debar Maalo".
Born into a theatre family in Bitola, then in Yugoslavia, on 27 April 1952, Stefanovski had his first play performed at the age of 22. After the fall of Yugoslavia, he spent eight years commuting between what had become the Republic of Macedonia, the UK and Sweden, before settling in the UK in 2000. He had dual Macedonian/UK citizenship.
Stefanovski's work dealt with issues of migration, post-communist transition and identity, as well as what it means to be human.

Early years

Goran Stefanovski was born on 27 April 1952 in Bitola, a town then in Yugoslavia, near the border with Greece on the Balkan Peninsula in Eastern Europe. His father, Mirko, was a theatre director and his mother, Nada, a leading actress. Much of Goran's childhood was spent in theatres. His younger brother is Vlatko Stefanovski, a well-known virtuoso guitarist.
Having fallen in love with all things English during his teenage years through the influence of the Beatles and the Rolling Stones, Goran went on to study English language and literature at the University of Skopje. However, he could not get the theatre out of his system and spent his third year of studies at the Faculty of Dramatic Arts in Belgrade. He graduated as the best student of his generation in Skopje and took a job in the Drama Department of TV Skopje, although he was soon to return to the University to teach English literature, with a particular focus on Shakespeare.
In October 1974 he met Pat Marsh, an English linguist who came to teach English at Skopje University. They married in March 14, 1976. When they met, he was writing a play based on Macedonian folklore for Slobodan Unkovski, one of the directors of a theatre group he had become involved with as a student; Unkovski was to become a lifetime collaborator and friend. Yané Zadrogaz achieved great success and went on to be presented at the Belgrade International Theatre Festival, then in Paris and finally at the Caracas Theatre Festival in Venezuela.

Life and work

A radio play about Shakespeare, two TV plays with a contemporary setting, and a six-part TV series set in the 1940s followed Goran Stefanovski's early success in the second half of the 1970s. In 1979 he wrote his best-known play, Wild Flesh, which has had fifteen productions to date all over Europe, including London, and is on the secondary school curriculum in his homeland. The play is based on the experiences of his father and uncles during World War II. It brought him the October Prize of the Republic of Macedonia for exceptional artistic achievement, the highest award of the Republic, as well as the 1980 Award for Best Yugoslav Play of the Year at the Sterijino Pozorje Theatre Festival and was performed at the Belgrade International Theatre Festival.
Two years later, Flying on the Spot had its first production, a play which dealt with the fraught Macedonian Question of the late nineteenth century and the identity of the nation.
Almost every year for the next thirty-three years was to see a new and successful play by Goran Stefanovski. In the 1980s he continually pushed the boundaries of Yugoslav theatre, both in an artistic and political sense. The False Bottom was particularly bold in its challenge to state censors. In 1988 The Black Hole received its first productions; with its unique structure and stunning theatricality, it was considered to be an important contribution to European theatre.
1985 marked a departure for the dramatist into a TV serial for children, The Crazy Alphabet, each episode teaching one of the 31 letters of the Macedonian alphabet through a combination of animation and sketches. Stefanovski's son, Igor, had been born in 1980 and his daughter, Jana, was to be born in 1986. That year he founded the playwriting department at the Faculty of Dramatic Arts in Skopje, where he was a full professor until 1998.
In 1987, Stefanovski wrote the first version of a screenplay for film director, Stolé Popov, dealing with the aftermath of the catastrophic 1903 Ilinden Uprising against Ottoman rule. This film, To the Hilt, was not to be made until 2014, after it had been through two revisions, but it was the first of six screenplays Stefanovski was to write and began his involvement with film.
In 1990, he took his family to Providence, Rhode Island, USA, where he spent six months as Outstanding Artist Fulbright Scholar at Brown University and began a lifelong friendship with Professor John Emigh.
In 1991, Yugoslavia began to fall apart and descended into civil war. The constantly deteriorating situation led his wife Pat to decide to make a new life for the family in Canterbury, England, from September 1992. For the next six years, Stefanovski was to commute between his homeland and the UK, continuing his teaching in Skopje.
In 1992, Dragan Klaić, one of Goran's former teachers at the Belgrade Faculty of Dramatic Arts and a close friend, put him in touch with Chris Torch of the Jordcirkus theatre group in Stockholm, who commissioned a play, in cooperation with the Antwerp European Capital of Culture, about Sarajevo, the Bosnian city then undergoing a brutal siege. Sarajevo, an oratorio for the theatre went on an extensive tour across Europe in the summer of 1993, including the London International Festival of Theatre and the Kampnagel International Summer Festival in Hamburg. Sarajevo was published in London, New York, and Illinois. This successful venture was followed by performance scripts for the festivals of European Capitals of Culture in Copenhagen, Stockholm, Avignon, and Bologna, all in collaboration with Chris Torch.
Through this connection, Stefanovski had become known in Sweden and between 1998 and 2000 he was a visiting professor at the Swedish Institute of Dramatic Art in Stockholm. The Institute published his A Little Book of Traps in 2002. It has been translated and published in five languages, including Chinese. By this time, Stefanovski had become used to writing in English and only later translating his work into his mother tongue.
In September 2000, he settled in Canterbury and taught classes in screenwriting and playwriting at the University of Kent before taking up his post at Canterbury Christ Church University in 2002, teaching screenwriting there until his death in 2018.
Stefanovski continued writing successful plays which were translated and produced all over the world throughout the rest of his life. In 2004 Everyman played at the Riverside Studios in Hammersmith and on tour with Theatre Mélange. Perhaps the most notable of his later plays were his two adaptations of Ancient Greek texts, Bacchanalia after Euripides' The Bacchae and Odysseus after Homer's Odyssey. Both had clear references to the Yugoslav wars and their aftermath. Several of his post-war plays "approach from different angles themes like alienation, wandering and home-longing, experimenting, at the same time, with the itinerant performance, aimed to explore a labyrinthine space".

Death

Goran Stefanovski died of an inoperable brain tumour in 2018 at the age of 66.

Political views

Goran Stefanovski was born and brought up under the communist regime in Yugoslavia. While doing his military service in 1977-78 he was made a member of the Yugoslav Communist Party and assigned to teach classes in Marxism to his fellow conscripts. Particularly during communist times, he walked a tightrope between approval and disapproval by the powers-that-be. His views on political events were still constantly sought after the fall of communism. In the last year of his life, he wrote: "I'm not a politician. It's not my responsibility to take a side and have a prepared position on every issue. I'm a playwright. I'm interested in both the voice of the angel and the voice of the devil. I sympathise both with the darkest on the Right and the brightest on the Left".

Academic research and teaching

Goran Stefanovski also had a long academic career in his homeland and in the UK. From 1975 to 1977 he did postgraduate studies at the Faculty of Philology, specialising in Literature Studies, and was awarded an MA in 1979 after presentation of his dissertation entitled "Stage Directions as the Foundation of the Theatre of Samuel Beckett".
For the 1979–1980 academic year he did research on contemporary British drama and Edward Bond at the University of Manchester, UK, with a 10-month scholarship from The British Council. This was to have led to a doctoral degree, but Stefanovski never completed it as creative writing came to hold a central position in his life and claimed the bulk of his time outside university teaching, which was his full-time career from 1978 onwards.
He taught a survey of English Literature with a strong emphasis on Shakespeare and Drama from 1978 to 1986 in the Department of English Language and Literature at the University of Skopje. From 1986 to 1995 he was an assistant professor at the Faculty of Dramatic Arts, University of Skopje, and Head of the Playwriting Department, teaching Creative Playwriting, Theory of Drama and History of Drama – Shakespeare course. In the Spring semester of 1990, he was Fulbright Outstanding Artist Scholar at Brown University, Providence, Rhode Island, USA, and taught an Introduction to Dramatic Writing in the Department of Theatre, Speech and Dance there.
He was promoted to Full Professor in his post in Skopje in 1995 and remained at the Faculty of Dramatic Arts until 1998. From 1998 to 2000 he was Visiting Professor at the Dramatic Institute, Stockholm, Sweden.
Stefanovski then taught screenwriting and playwriting classes in the Departments of Film and Drama at the University of Kent at Canterbury, UK, between 2000 and 2002, before taking up the post he held until his death in 2018 as Senior Lecturer in Scriptwriting in the Department of Media and Art at Canterbury Christ Church University in 2002.
His A Little Book of Traps , published by Dramatic Institute in Stockholm in 2002, encapsulates his approach to playwriting and screenwriting as a craft which can be taught. He was to develop this in various papers and essays.
Stefanovski contributed papers to a large number of conferences and held workshops all over Europe. He reported on his practice-based research of scriptwriting and also on his research into issues of identity and cultural history, politics and policies.
His last public lecture was as keynote speaker at the International Federation for Theatre Research World Congress in Belgrade in July 2018. His last public appearance was to receive an honorary doctorate from the Krastyo Sarafov National Academy for Theatre and Film Arts in Sofia.

Archive and rights to the works

Goran Stefanovski's folders on each of his works with background material used and reviews, as well as much of his library of books, are held at the Macedonian Academy of Arts and Sciences in Skopje, Republic of North Macedonia. The protects and promotes his work internationally, as well as sponsoring aspiring young writers for the theatre and film and arts events. Applications to perform or publish his work in the Republic of North Macedonia should be made to in Skopje, or to Igor Stefanovski at the Goran Stefanovski Foundation to perform or publish his work elsewhere in the world.

Full-length theatre plays

  • Јане Задрогаз – 1974
  • Диво месо – 1979
  • Лет во место – 1981
  • Хај-Фај – 1982
  • Дупло дно – 1984
  • Тетовирани души – 1985
  • Црна дупка – 1987
  • Лонг плеј – 1988
  • Кула вавилонска – 1989
  • Чернодрински се враќа дома – 1991 Sarajevo, an oratorio for the theatre – 1993
  • Баханалии – 1996 Casabalkan – 1997Euralien – 1998Tales of a City – 1998Hotel Europa – 2000The Hague – 2000Everyman – 2002
  • Демонот од Дебар маало – 2006
  • Пусти то – 2010 Odisej – 2012
  • Огнени јазици – 2013 Figurae Veneris Historiae – 2014
Most of Goran Stefanovski's plays for the theatre were published in Macedonian in the four volumes of Собрани драми, Табернакул, Skopje ; ; . These editions are now out of print.
Now available in Macedonian:Горан Стефановски : Избрани драми Polica, Трето издание, 2022
  • Горан Стефановски, Диво месо, Издавачки центар Три, Skopje, 2023

Plays available in translation

In English

translated by Patricia Marsh-Stefanovska, The Conrad Press, 2019 Selected Plays – Translation Project Macedonian Literature in English Volume 99, St Clement of Ohrid National and University Library, Skopje, 2011
  • "Hotel Europa" published in the anthology New Europe edited by Bonnie Marranca and Malgorzata Semil, PAJ Publications, New York, New York, 2009
  • "Proud Flesh" in Ten Modern Macedonian Plays, edited and with a foreword by Jelena Lužina, Matica Makedonska, Skopje, 2000,
  • "Sarajevo" in Balkan Blues , ed. Joanna Labon, pp. 211–268, Northwestern University Press, Evanston, Illinois, 1995,
  • "Sarajevo" in Storm , No. 6, pp. 210–268, edited by Joanna Labon, published in association with Carcanet Press, London, 1994,
  • "Sarajevo" in Performing Arts Journal, New York, Vol l. XVI, No.2, 1994Hi-Fi/The False Bottom, translated by Patricia Marsh-Stefanovska, BkMk Press of the University of Missouri – Kansas, 1986
  • "Flying on the Spot", translated by Patricia Marsh-Stefanovska, in theatre magazine Scena, English issue 8, pp. 170–188, Novi Sad, 1985
  • "Proud Flesh", translated and with a foreword by Prof. Ralph Bogert, in Slavic and East European Arts, Vol.2, No.1, pp. 59–93, State University of New York at Stony Brook, 1983
  • "Proud Flesh", translated by Alan McConnell Duff, in the theatre magazine Scena,, pp. 170–186, Novi Sad, Serbia, 1981

In French

Černodrinski revient à la maison, translated by Maria Béjanovska, L'Espace d'un Instant, Paris, 2013 Le démon de Debarmaalo, translated by Maria Béjanovska, L'Espace d'un Instant, Paris, 2010 Hôtel Europa : Scénario pour un événement théâtral, translated by Séverine Magois, L'Espace d'un Instant, Paris, 2005
  • "Ex-Yougoslavie, le théâtre dans la guerre, textes réunis, traduits et présentés par Mireille Robin", Les Cahiers, Revue Trimestrielle de Théàtre, Comédie-Française, No.9, Paris

In Spanish

Sarajevo y Figurae Veneris Historiae, translated by Marija Pendeva and Jose Gabriel Santander Serrano, Publicaciones de la Asociación de Directores de Escena de España, Madrid, 2016 Carne orgullosa y Doble fondo, Publicaciones de la Asociación de Directores de Escena de España, Serie: Literatura Dramatica, No. 92, Madrid, 2015 Hotel Europa y Everyman , translated by Marija Pendeva and Jose Gabriel Santander Serrano, Publicaciones de la Asociación de Directores de Escena de España, Serie: Literatura Dramatica, No. 89, Madrid, 2015

In Italian

  • , preface by Paolo Magelli, CUEPRESS, Imalo, Italy, 2022
  • "Anime Tatuate", translated by Nicoletta Gaida, in Il Gallo Silvestre, 9, pp. 61–100, Sestante, Mira, Venezia, 1997

In German

  • "Hotel Europa" in Neue Stücke aus Europa, translated by Elena Krüskemper, Bonn, Germany, 2000
  • "Sarajevo", translated by Sabine Zolchow, Theater der Zeit, No. 1, Essen, Mai/Juni 1993
  • "Long Play", translated by Simona Erlitzer, in YU Fest 1988, National Theatre of Subotica, pp. 170–205, Subotica, 1988

In Russian

  • "Chernodrinski comes back home", in Современная македонская пьеса translated by Olga Pankina, ed. Olga Pankina, Okojom, Moscow, 2010 Полет на месте и другие пьесы Горан Стефановский Радуга, 1987
  • "Яне-баламут" in Драматургия Югославии Серия: Библиотека югославской литературы, edited and translated by Natalija Vagapova, pp. 583–622, Iskustvo, Moscow, 1982

In Serbian

  • "Чернодринсҡи се враҕa дoma", translated by the author, Мостови,, 111, Беогҏад, 1997
  • "Bahanalije", translated by Gojko Janušević, in Scena theatre magazine, 1–2, Novi Sad, 1997
  • "Crna rupa" translated by Gojko Janušević, in Scena theatre magazine, 1, no. XXIV, pp. 199–208, Novi Sad, 1988Teтoвиранe душе и друге драме, Narodna Knjiga, Beograd, 1987
  • "Duplo dno", translated by Risto Vasilevski, Ka novoj drami, Vol. 3, pp. 5–36, edited by Dragana Bošković, Nova Knjiga, Beograd, 1987
  • "Teтoвиранe душе", translated by the author, in Књижевне новине, 700–701, pp. 29–32, Београд, 1985
  • "Divlje meso", translated by Gojko Janušević, in Antologija savremene jugoslovenske drame, Vol.2, pp. 325–403, edited by Ognjen Lakićević, Svetozar Marković, Beograd, 1984
  • "Hi-Fi", translated by Biljana Biljanovska, in Ka novoj drami, Vol. 3, pp. 1–63,, Tribina, Beograd, 1983
  • "Let u mestu", translated by Dušan Gorenčevski, in Scena theatre magazine, XVIII, 2, pp. 109–128, Novi Sad, 1982Divlje meso, translated by Gojko Janušević, Sterijino Pozorje, Novi Sad, Serbia, 1980

In Croatian

Odisej i druge drame, Hrvatska sveučilišna naklada, 2018
  • "Divlje meso", translated by Borislav Pavlovski, in Suvremene makedonske drame, pp. 213–260, edited by Branko Hećimović and Borislav Pavlovski, Znanje, Zagreb, 1982

In Slovenian

Odisej, translated by Branka Nikl Klampfer, Maribor, Hisa Knjig, Založba KMS, 2012 Demon iz Debar Maala, pp. 299–307, Cankarjeva Založba, Ljubljana, 2008
  • "Hi-Fi", in Makedonska dramska besedila, translated by Mateja Dermelj, edited and with a foreword by Vladimir Osolnik, Univerza v Ljubljani, Ljubljana, pp. 88–115, 2003
  • "Bakanalije", translated by Zdravko Duša, in Dramatikon 2, Beletrina, Ljubljana, pp. 217–252, 2000

In Romanian

Goran Stefanovski: 7 piese de teatru, translated by Mihaela Cernăuţi-Gorodeţchi with Nikola Vangeli, Editura Artes, 2018 Europeretta, Book of plays translated by Ioana Ieronim, Tracus Arte, București, 2016 Viata lumii, translated by Nikola Vangeli, Contact International, Vol.23, 109, 110, 111, pp. 555–567, București, 2013Poveşti din Estul Sălbatic, Book of selected plays translated into Romanian by Ioana Ieronim, foreword by Ioana Ieronim, Fundaţia Culturală "Camil Petrescu", Revista Teatrul azi, prin Editura Cheiron, București, pp. 209, 2010
  • "Everyman", translated by Ioana Ireonimin, in Antologia, Festivalul International de Teatru de la Sibiu, pp. 237–259, Sibiu, 2009
  • "Hotel Europa", translated by Ioana Ieronim, pp. 145–182 in Dramaturgie contemporana din Balcani, ed. Andreea Dumitru, preface by Ioana Ieronim, Fundatia Culturala Camil Petrescu, București, 2008

In Czech

  • "Kdokoli", translated by Ivana Dorovska, in Ctyri Jihoslovanska Dramata, pp. 109–139, including a critical essay by Ivana Dorovska "Letmy pohled na soucasnou jihoslovansku dramatickou tvorbu" pp. 5–16, Boskovice, Brno, 2008

In Slovak

Vybrane dramatické práce, Juga, Bratislava, 2009
  • "Tetovane Duše", translated by Jan Janković, Javisko theatre magazine, no.6, Bratislava, 1994
  • "Žive maso", translated by Jan Janković in Javisko theatre magazine, no.1, pp. 17–33, Bratislava, 1989

In Polish

  • "Demon z przdemieścia", translated by Danuta Ćirlić-Straczyńska, in Dialog, pp. 104–130, Warsawa, May 2007
  • "Sarajewo", translated by Danuta Ćirlić-Straczyńska, in Dialog 4, Kwiecen 1994, Warsawa, 1994
  • "Dzikie mięso", translated by Jolanta Klaszninowska, in Antologia wspöłczesnego dramatu jugosłowiańskiego, edited by Ognjen Lakićević, pp. 321–378, Wydawnictwo Łódzkie, Łódź, 1988

In Turkish

Dövmelí Canlar, translated by Zekir Sipahi, Seyirlik Yayınları, Istanbul, 1994

In Hungarian

  • "Vadhus" translated by Marietta Vujicsics, in HID magazine no. XLIX, 7–8, pp. 950–971 & in 9, pp. 1128–1156, Novi Sad, 1985

Scripts/adaptations

Traviata - 1989. Libretto for a rock opera produced by Omladinski Kulturni Centar, Zagreb, Croatia, ex-Yugoslavia
  • Зодијак - 1990 Libretto for a rock ballet produced by the Macedonian National Theatre Ballet with music by V. Stefanovski and B.ArsovskiГо сакам Чернодрински – 1991. A multi-media performance produced by the Bitola National Theatre, Republic of Macedonia Brecht in Hollywood – 1995. Part-time collaborator on this devised piece for the theatre, produced and performed by the Moving Theatre at Bridge Lane, LondonOn the Road to Baghdad – 1999. Adaptation of the novel of the same name by Güneli Gün, commissioned and produced by the Green Candle Dance Company, London. Performed at Sadler's Wells, LondonДухот на слободата – 2003. Variations on a play by Chernodrinski produced by the National Theatre Bitola, Republic of Macedonia, in 2005

Radio plays

Shakespeare the Apprentice – 1975 Produced for Macedonian Radio in 1975

One-act plays

Гоце – 1991. Produced for Makedonsko Oro by the Canadian-Macedonian Federation, Toronto, Canada, 1991Old Man Carrying Stones – 1994. Commissioned and produced by the Green Candle Company, London, premiered at the Lilian Baylis Theatre at Sadler's Wells, LondonСега му е мајката – 1995. Produced by an informal group and presented at the Dramski Teatar, SkopjeEx-Yu – 1996. Commissioned by The Tricycle Theatre, London, produced in May 1996, directed by Nicolas KentOnly Human – 1998. Commissioned by HMR, Sweden for the 50th anniversary of The Declaration of Human Rights, performed in 1998, directed by Suzanne Osten

TV plays

Клинч – 1974. Produced and broadcast by The Macedonian National Television in 1975. Also produced two more times as a stage play.Сослушувањето на железничарот – 1977. TV film, produced by TV SkopjeТоме од бензинската пумпа – 1978. TV film, produced by TV SkopjeТумба, тумба дивина – 1980. Produced by TV SkopjeДивље месо – 1981. Produced by TV Belgrade Оазата на Мира – 1994. New Year's Eve TV show produced by TV Skopje, Macedonia

TV serials

Наши години – 1979. TV drama serial in 6 instalments, produced by Macedonian National Broadcasting ServiceБушава азбука – 1985. TV series for children in 31 instalments, produced by Macedonian National Broadcasting Service - now available as a large hardback and paperback in an edition by Чудна шума, 2023 hardback: paperback: Аирлија транзиција – 1996 in six instalments.Commissioned by USAID and produced by Mala Stanica, SkopjeНаше маало – 1998. Story bible for children's TV series commissioned by CTW, Children's Television Network, New York, the makers of Sesame Street. Produced by Search For Common Ground. First series broadcast 2001.

Screenplays

Хај-фај – 1988. Feature film script produced by The Vardar Film Company, Skopje, Macedonia, directed by Vladimir Blaževski Parigi-Istra – 1991 PARIGI-ISTRA Script for part of an omnibus feature film, produced in Croatia, directed by Rajko GrlićДо балчак 1987, 2001 and 2011. Feature film script, optioned by Watershed Productions, London. Finally produced by Jordančo Čevrevski and Vladimir Anastasov and directed by Stolé Popov Walter and Virginia – 2005. First draft of a feature film script commissioned by Get Film, Stockholm, directed by Suzanne OstenFrau Einstein – 2007. Doctoring of feature film script for Hammer Productions, Novi Sad, SerbiaWhat do you want?- 2007. Script for short film based on etching by and interview with Nick Burton, edited by Andy Birtwistle

Screenwriting manual

A Little Book of Traps, a scriptwriting tool – 2002. Dramatiska Institutet, Stockholm, Sweden
Available in translation:
Into Macedonian:Мала книга на стапици , Табернакул, Скопје, 2003 out of print; republished by Издавачки центар Три, 2003
Into Chinese :
  • "A Little Book of Traps, a scriptwriting tool", translated by Li Lina, Journal of Beijing Film Academy, No.78, Issue 5 2007/2010
Into Serbian:Mala knjiga zamki , Sterijino pozorje, Novi Sad, 2009
Into Slovak:Malá kniha nástrah , Divadelný ústav v Bratislave, Bratislava, 2010

Prose poems

Конзервирани импресии, Темплум, Скопје, 2020 Конзервирани импресии, Табернакул, Скопје, 2014 Конзервирани импресии, Магма книга 13, Темплум, Скопје, 2004

Published articles and essays

  • 2022 "Eloge du Contraire", 11 essays selected and with a preface by Ivan Dodovski, translated from Macedonian into French by Maria Béjanovska, éditions L'Espace d'un Instant, Maison d'Europe et d'Orient, ISBN 978-2-37572-041-7
  • 2012 "Cearta dintre mine si Kafka", translated into Romanian by Ioana Ieronim, Romania Literara, 9, annul XLIV, 2.3.2012
  • 2010 Кавга со Кафка и други есеи,, Табернакул, Скопје, 2010
  • 2010 "Chinese Whispers", in Shoreless Bridges , edited by Elka Agoston-Nikolova, Rodopi, Amsterdam/New York, NY 2010,, pp. 21–26,, E-Book
  • 2010 "Trans Artists and Cis Artists" published in TEAM Network Year Book, pp. 44–492009
  • 2009 "Tales from the Wild East", translated into Romanian by Ioana Ieronimin, in the weekly Luceafarul, 45–46, 30.12.2009, Bucuresti. Online version: http://www.revistaluceafarul.ro/index.html?id=1792&editie=812009,
  • 2009 Monologue from the essay "Heart of the Matter" translated into Romanian by Ioana Ieronim, published in the weekly Romania literara, Number 51–52, 2009. Online version: http://www.romlit.ro/goran_stefanovski-fondul_problemei
  • 2009 "Geschichten aus dem Wilden Osten", in Wespennest – Zeitschrift für brauchbare Texte und Bilder, Nummer 154, Marz; Wien,
  • 2008 "Playwright as a maker of Plays" in Literary Landscapes, Central European Initiative, Round Table at Vilenica, The Author between Text and Context, Essays, pp. 41–52, Drustvo slovenskih pisateljev, Ljubljana. 2008
  • 2008 "After Dinner Speech" in Best of Sarajevo Notebooks, No 18, 2008, Sarajevo, Bosnia and Herzegovina
  • 2008 "Tales from the Wild East" in Theatre and Performance in Eastern Europe, edited by Dennis Barnett and Arthur Skelton, The Scarecrow Press, Lanham, Maryland, U.S.A, pp. 147–155
  • 2007 "Dlaczego Balkany nie sa sexy" in Dialog, pp. 94–103, Warsawa, May 2007
  • 2006 "The Heart of the Matter" in The Heart of the Matter , ed. Chris Keulemans, pp. 68–73, European Cultural Foundation, Amsterdam, 2006
  • 2006 "Stammi a sentire, Gran Bretagna" in Quando la Cultura fa la differenza , ed. Simona Bodo and Maria Rita Cifarelli, pp 149–155, Meltemi Editore, Roma
  • 2005 "O našoj priči", an essay, translated by Nenad Vujadinović, Mostovi, pp. 129–130, Beograd
  • 2005 "Tales from the Wild East" essay in Hotel Europa, translated into French by Séverine Magois, éditions L'Espace d'un Instant, Paris
  • 2005 Приказни од дивиот исток, essays and interviews, Табернакул, Скопје
  • 2004 "A Tale from the Wild East" in Alter Ego – Twenty Confronting Views on the European Experience, edited by Guido Snel, Amsterdam University Press, Salome
  • 2001 "Za kaj Balkan ni seksi",, Air Beletrina 12–13, Ljubljana
  • 2001 "Bakanalije" in Dramatikon 2, Beletrina, Ljubljana
  • 2000 "Fables du monde sauvage de l'Est", French translation of essay, Alternatives théâtrales, 64, Bruxelles
  • 2000 "Priče s divljeg istoka", Croatian translation of essay, 15 Dana, 6/2000
  • 2000 "Geschichten aus dem Wilden Osten", German translation of essay, Theater Heute, No. 6, June 2000
  • 1999 "Priče s divljeg istoka", Croatian translation of essay, Radio Zagreb III, Zagreb
  • 1999 "Zasto Balkan nije seksi", Serbian translation of essay, NIN, Beograd
  • 1999 "Приказни од дивиот исток", an essay, Forum, Skopje
  • 1996 "Англиската драма без Шекспир во Македонија од 1915 до 1985", Книжевен контекст, Faculty of Philology, Skopje, pp. 222–233,
  • 1991 "Pearls of Wisdom", EuroMaske, No. 3, Ljubljana
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Practice-based research

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