Seminário Internacional de Jovens Críticos de Teatro (XIII)
Apresenta-se hoje a segunda de duas reflexões sobre o contexto teatral na Bulgária. O texto vai assinado por Elitsa Mateeva
THEATRICAL HORIZONS: PERFORMANCE - PUBLIC - TRAVELING
That which excites me is how each performance finds its spectator? What kind are his concussions, fractures, regenerations in demand of that one faithful observer. In view of the fact that for a year I have been occupied with professional staging, often I have to think for who will be communicated my creative work, who is his recipient?
Into the situation of the Bulgarian theater I would show few environments dependent from the methodology and means of expression of work.
If I may to define the first one classic, that means to put a text for theater based of the principle of the actor's psychological transformation. Like a creator I am not interested from this kind of theater for now.The second way of search is in the area of the body like a language, the body like a GESTUS, special kind gesture, which writes by it self the dramaturgy of one performance.The third: Means of expression inside of the area the collective-unknowing - the theory of Jung. The Bulgarian folklore is the applying of different combinations of techniques, where the actor gravitates between the text-world and his expressive body-statement.
Every kind of work on a theatrical project, every one of these environments which I conventionally defined, finds his spectator. Of course one of the reasons to prefer one performance to another is the media's fault and their way of communally sound recording in advantage of one performance to another. I showed up these three groups with the reservation that this is something like a base. The theatrical life is multiform and every creator always accumulates new ideas and methods for self-expression.
On the basis of these groups I will mention some individual creators who determine the face of the theatrical life in Bulgaria. The creators who belong to the first group are over 47 years in age and naturally their works of expression are going to be verbal and in the more classic forms of interpretation of the texts for theatre. These are directors like: Leon Daniel, Grisha Ostrovski, Krasimir Spasov, Plamen Markov, Andrej Avramov, Bina Haralambieva…
The directors from the second stream realize one peculiar mix of work. They combine the language of the body with the text. Some of them work in the area of the theatre called dancing: Galina Borisova, Rosen Mihajlov, Mila Odadjieva, Ivajlo Dimchev… Directors like Galin Stoev,Lilia Abadjieva, Desislava Shpatova, Elena Panajotova in some of their performances convert the body to meta language of the speech. They transform it into media.
In the third group come the searches of Sfumato creative laboratory, the work of Vaskresia Viharova, part of the projects of Bojko Bogdanov. To the expression's way could be showed some of the projects of Yavor Gardev, Bojan Ivanov, Bojan Slavov. In our theatre exist one special line of creators who graduated staging for puppet theatre, but they reorient ate to the dramatic theatre: Aleksandar Morfov, Stefan Moskov, Sani Saninski. They use the puppet narrative like a method and form in the theatrical composition. Creators such as Marius Kurkinski put in the staging their experience from the actor's education and the unusual world outlook to the dramaturgy in the searching of the metaphysical, the over verbal.
I hatched these peculiarities of work because on the base of their identity, are going to be definite the vision of the audience, its adjustments, its choice to see one performance. For example the generation which I represent is interesting more from the second and the third groups and the last subgroup. The first group is for the connoisseurs of the well-balanced, devoid of extremes creative work in it self experiment. To the direction of the subgroup, its representatives prefer every kind audience, independently from the age differences and restrictions.
The Bulgarian theatre is faithful of the conceptual that is to say is necessary to there is one director who assumes the responsibility for the hall face of the performance. For all the power of the director's theatre often we can see the combination: team-work between different kind creators- director, actor and choreographer. They could be definite like co-authors, makers of the performance. This form of collaboration could be found among the young creators.
Our theatre is focused in one small space-field of researching, probably because still looks like a child who is trying to overtake somebody else's
experience. Or probably because on agenda is the usual complaint from lack of real stat? politics in support of the theatrical art. Actually everything depends from us-it's real, creative potential.
Contacto: emateeva@gbg.bg
ELITSA MATEEVA é actriz e crítica de teatro na Bulgária. Tem publicado artigos em diversas revistas (THEATRE, HOMO LUDENS, etc.).
Apresenta-se hoje a segunda de duas reflexões sobre o contexto teatral na Bulgária. O texto vai assinado por Elitsa Mateeva
THEATRICAL HORIZONS: PERFORMANCE - PUBLIC - TRAVELING
That which excites me is how each performance finds its spectator? What kind are his concussions, fractures, regenerations in demand of that one faithful observer. In view of the fact that for a year I have been occupied with professional staging, often I have to think for who will be communicated my creative work, who is his recipient?
Into the situation of the Bulgarian theater I would show few environments dependent from the methodology and means of expression of work.
If I may to define the first one classic, that means to put a text for theater based of the principle of the actor's psychological transformation. Like a creator I am not interested from this kind of theater for now.The second way of search is in the area of the body like a language, the body like a GESTUS, special kind gesture, which writes by it self the dramaturgy of one performance.The third: Means of expression inside of the area the collective-unknowing - the theory of Jung. The Bulgarian folklore is the applying of different combinations of techniques, where the actor gravitates between the text-world and his expressive body-statement.
Every kind of work on a theatrical project, every one of these environments which I conventionally defined, finds his spectator. Of course one of the reasons to prefer one performance to another is the media's fault and their way of communally sound recording in advantage of one performance to another. I showed up these three groups with the reservation that this is something like a base. The theatrical life is multiform and every creator always accumulates new ideas and methods for self-expression.
On the basis of these groups I will mention some individual creators who determine the face of the theatrical life in Bulgaria. The creators who belong to the first group are over 47 years in age and naturally their works of expression are going to be verbal and in the more classic forms of interpretation of the texts for theatre. These are directors like: Leon Daniel, Grisha Ostrovski, Krasimir Spasov, Plamen Markov, Andrej Avramov, Bina Haralambieva…
The directors from the second stream realize one peculiar mix of work. They combine the language of the body with the text. Some of them work in the area of the theatre called dancing: Galina Borisova, Rosen Mihajlov, Mila Odadjieva, Ivajlo Dimchev… Directors like Galin Stoev,Lilia Abadjieva, Desislava Shpatova, Elena Panajotova in some of their performances convert the body to meta language of the speech. They transform it into media.
In the third group come the searches of Sfumato creative laboratory, the work of Vaskresia Viharova, part of the projects of Bojko Bogdanov. To the expression's way could be showed some of the projects of Yavor Gardev, Bojan Ivanov, Bojan Slavov. In our theatre exist one special line of creators who graduated staging for puppet theatre, but they reorient ate to the dramatic theatre: Aleksandar Morfov, Stefan Moskov, Sani Saninski. They use the puppet narrative like a method and form in the theatrical composition. Creators such as Marius Kurkinski put in the staging their experience from the actor's education and the unusual world outlook to the dramaturgy in the searching of the metaphysical, the over verbal.
I hatched these peculiarities of work because on the base of their identity, are going to be definite the vision of the audience, its adjustments, its choice to see one performance. For example the generation which I represent is interesting more from the second and the third groups and the last subgroup. The first group is for the connoisseurs of the well-balanced, devoid of extremes creative work in it self experiment. To the direction of the subgroup, its representatives prefer every kind audience, independently from the age differences and restrictions.
The Bulgarian theatre is faithful of the conceptual that is to say is necessary to there is one director who assumes the responsibility for the hall face of the performance. For all the power of the director's theatre often we can see the combination: team-work between different kind creators- director, actor and choreographer. They could be definite like co-authors, makers of the performance. This form of collaboration could be found among the young creators.
Our theatre is focused in one small space-field of researching, probably because still looks like a child who is trying to overtake somebody else's
experience. Or probably because on agenda is the usual complaint from lack of real stat? politics in support of the theatrical art. Actually everything depends from us-it's real, creative potential.
Contacto: emateeva@gbg.bg
ELITSA MATEEVA é actriz e crítica de teatro na Bulgária. Tem publicado artigos em diversas revistas (THEATRE, HOMO LUDENS, etc.).
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