Samuel Beckett's Arrivals on the Yugoslav Stage: Godot's "lives" and "afterlives" in the former Socialist Federal Republic of Yugoslavia

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Samuel Beckett's Arrivals on the Yugoslav Stage: Godot's "lives" and "afterlives" in the inter and post-war periods of the former Socialist Federal Republic of Yugoslavia. My research will assess Samuel Beckett's impact in former Yugoslavia. I will investigate the political and aesthetic lives of the Yugoslav Godot between 1954-2002. Godot would be banned, unbanned, and staged through a series of cultural and political shifts in former Yugoslavia. I will track the ways in which Godot was adapted for the avant-garde, neo-avant-garde, and mainstream Yugoslav theatres and became a political emblem. In conversation with Rancière's model of the 'politics of aesthetics', I will interrogate how the tactile and aesthetic elements of theatre here manifested politically regardless of what is considered Beckett's own political (dis)engagement.My position is that Godot's lives on the Serbian stage in the Republic are politicised, neo-avant-garde adaptations of Godot. I will read Godot's afterlives as part of the beginnings of postmodern 'political aesthetics'. Dragana Obradovic's model of Yugoslav postmodernism correlates this as being a historical 'demand' of the inter and post-war periods. When referring to the neo-avant-garde, I use Misko Suvakovic's model of regional avant-gardes. Suvakovic describes the Serbian neo-avant-garde as 'a renewed critical practice on the fringes of mainstream modernist culture' that occurred between 1951-1973 in Tito's Yugoslavia. I will examine this 'critical' strategy alongside the 'political' structures of the avant-garde