Serbia and Montenegro, as on every other social – that is to say economic – level.
It is impossible to erase these scars immediately, let alone heal them.
Too often, theatre in Serbia has been accused of fostering the growing nation-
alism. It has been said that some of its productions have affected the profusion
of populism, and what is more, its frivolous content has offered escapism
instead of mobilising forces against evil. It is true that the theatre in this country
engaged in politics, sometimes even in a banal, almost journalistic way, and most
often in an ethnically irrelevant way, but it must also be admitted that during the
reign of Milosevic there was a persistent expression of rebellion and resistance
to repression. There was not a civil protest in which the most prominent
theatremakers did not take part, nor form of civil disobedience that did not
include actors, directors and playwrights.