Sanja Nikčević (born 1960) is a Croatian theatre critic and distinguished professor of theatre history in the drama department of the Arts Academy of Osijek, Croatia.[1] She is also head of the drama module of the doctoral program in literature at the Faculty of Philosophy, University of Osijek (Osijek, Croatia). She is the president of the Croatian Critics' Association and Governing Board of Matica hrvatska.[2] Nikčević lives in Zagreb, Croatia.
Nikčević was born in Varaždin. At the Faculty of Philosophy Zagreb she obtained a BA (French language and comparative literature, 1984), MA (1993) and Ph.D. (1998) in American drama. She worked as a journalist and theatre critic for the Croatian daily newspaper Večernji list (1985–1993), was an advisor for theatre in the Croatian Ministry of Culture (1996–1997), and was a freelancer.
Nikčević was a Fulbright scholar (CUNY 1995, mentor M. Carlson UCSB 2002, mentor W. D. King) and lectured at the University of California, Santa Barbara, United States in 2001. Since 2003, she has been employed in the English department (Faculty of Philosophy, Osijek), teaching courses on American and British drama, where she still works in the Ph.D. literature program. Since 2007 she has been employed at the Arts Academy in Osijek (UAOS) where she teaches courses on the history of world drama and theatre.
Nikčević was the founder and first president (1994–2000) of the Croatian Center of ITI-UNESCO[3] where she organized numerous international events (seminars, drama colony, exchange writers and directors, presentation of theatre of other countries in Croatia and vice versa). Since 2004 she was secretary, since 2010 she was president of a national theatre critics' organization (HDKKT), and since 2014 she was a member of the main governing board of Matica hrvatska.She has served as an EXCOM board member for ITI Worldwide for two terms and is an active member of numerous international and American associations of scholars and critics (ASTR, ATHE, IFTR, AICT, and ATCA).
At the Croatian center of ITI Nikčević founded and edited the publication Croatian drama (the only publication on Croatian theatre in English) and Mansions. She was the editor of Mansions until 2004 and published more than thirty books. From 1998 to 2002 she was the editor of the Croatian mainstream theatre journal Theatre (Kazalište). She founded Ars Academica (a series of textbooks for the Arts Academy) where she was editor from 2009 to 2013.
Her main topics of research are American drama, contemporary European drama, Croatian war drama and theatre criticism and history of theatre. She has participated in more than one hundred national, American, and international symposiums. She has published more than one hundred articles on European and American theatre in English which were published in America (SSEP, PAJ), Hong Kong, Japan, Poland, Bosnia, Hungary, Slovakia, Macedonia and Slovenia in academic or theatre journals and academic-edited volumes, and forwards of books. Nikčević publishes theatre reviews in the Croatian weekly cultural newspaper (Vijenac, Hrvatsko slovo). She has published six books and edited six anthologies.
In Croatia Nikčević has edited the Anthology of American Plays (1993) in two volumes and published three books on American drama: The Subversive American Drama or Sympathy for Losers (1994); Affirmative American Drama or Long Live the Puritans(2003)and Losers' Genius in Our Town(Zagreb, 2006). In these books she introduced a new classification of American drama based on the attitude of plays toward the main American myth, the American dream. Plays depicting losers and failures of the American dream (from Eugene O’Neill, Arthur Miller, Tennessee Williams, Edward Albee and David Mamet, for example) she calls subversive. Plays that show characters who can accept their position in life and make the most of it (mainly solving their problems and achieving the American dream) she designates as affirmative American plays (from Thornton Wilder through comedies and melodrama to Harling's Steel Magnolias, Margaret Edson, etc.).
Nikčević's book on the spread of in-yer-face theatre from its origin in 1990s Britain all over Europe, New European Drama or The Great Deception, (Zagreb, 2005) was both attacked and praised. It has been translated into Slovak (Bratislava, 2007) and Bulgarian (Ruse, 2009). Selected chapters were published in several languages – English (New Theater Quarterly, August 2005), Polish (Dialog 1/2005. str. 122–135.) and Hungarian (u Szinhaz, Hungary, July 2005). It has been included as a rare non-English book as literature on the official website of in-yer-face theatre by British critic Aleks Sierz,[4] whose book was the first to define the genre. Nikčević's book received the prestigious Croatian Award (Petar Brečić, 2006). After five years, in 2009, the second edition was published, including not just an additional chapter about the destiny of new European drama over those five years, but also reactions to the book (attacks and praise).
Nikčević edited the first anthology of Croatian plays published outside Croatia: Anthology of Contemporary Croatian Drama (Macedonia, 2002). Her book on Croatian drama What is Croatian drama to us? (Zagreb, 2008), deals with some less-fashionable but very important writers (Tanja Radović, Miro Gavran), genres (the comedies of Ivan Kušan or literary cabaret of Borisa Senkera) and topics (the disappearance of political drama after the fall of communism, religious plays during wartime, etc.)
She offered a new classification of Croatian drama based upon the attitude of the drama toward reality, where she proves that this attitude has three points: politics, emotions and intertextuality. Some decades are dominant in dealing with one point: the 1960s and 1970s with politics as a means for the destruction of the individual (Ivan Kušan, Ivo Brešan, Dubravko J. Bužimski, Škrabe/Mujićić/Senker), the 1980s dealing with emotions and the inner world of the hero (Miro Gavran, Lada Kaštelan, Mate Matišić), authors of the 1990s are in search of intertextuality (Ivan Vidić, Asja Srnrc Todorović, Tomislav Zajec), while the latest period is in search of the voice between these three points.
Edited:
The anthologies and Nikčević's theoretical work on the topic (Plays on Homeland War of one hundred titles from cabaret till allegory, published in the journal Republika 7-8/2012. p. 67-91) are changing the usual beliefs that there are no war plays from the Homeland War or that these plays are not of a good quality. Her research showed that from 1990 to 2011 more than one hundred professional Croatian plays were published or performed, plays that are connected with the topic either directly, through a character connected with the war, or through allegory (speaking about another war but with direct inspiration from the Homeland War).
Nikčević edited a collection on essays in English Theatre Criticism Today (2002) as a result of three symposiums on theatre criticism that she organized in the Croatian centre of ITI (Pula 1998 i 1999, Zagreb 2000). She published the first theoretical book on theatre criticism in Croatia, titled Theatre Criticism or Inevitable Companion (2012), where she compared two different attitudes toward theatre criticism (European and American) with a new definition of the genre.
1999: Honorary citizen of Waterford, Connecticut, USA
2000: The Order of Croatian Pleter by the President of the Republic of Croatia, for the promotion of Croatian culture
2006: New European Drama or Big Deception (2005), Award Petar Brečić, for book on theatre
2013: Theatre Criticism or Inevitable Companion (2012), Award Antun Gustav Matoš Matica Hrvatska, for best critical book