Theatres

Theatre Laboratory SFUMATO
Director: Margarita Mladenova
Translation: Antonia Parcheva
Scenography: Nikola Toromanov
Composer: Hristo Namliev
Photographer: Yana Lozeva
Actors: Svetlana Yancheva, Rashko Mladenov
...AND THE DAY DOESN'T END...
All the lofty dreams of the 20th century theater - from Antonin Artaud's yearning for the "destruction of appearances" to Peter Brook's "total theater" to Heiner Müller's "play with realities as subversion" - are embodied, happened in the dramaturgy of Samuel Beckett . His poetic "theatre machines" - both humans and fallen angels, trapped in their daily traps - buried in the earth; living in garbage cans or in cylinders - are a replica of the martyrs of Dante's "hell". Only punished without sin. Punished to live.
Beckett's theater can be called a cruel theater, a theater of the inevitable. Theater for the loser, "thrown" in existence, doomed to "eternal today".
Man, taken in his pure identity with the unanswered questions, the inflamed consciousness, powerless to untie the insoluble knots between his passing life and the all-pervading death. The things and the nothing.
The mouth as if gone mad, the language as a response to the absurd human being, broken by pauses during which it is seen - what?!
Pain as modus vivendi; as salvation from emptiness. The other as the only support.
Among the gallery of Beckett's clowns, a special place is occupied by the two "lucky ones" - Winnie and Willy.
Similar to the universal soul in Chekhov's “The Seagull”, Winnie doesn’t know "who she is and what awaits her," but she has embraced "the whole life, the whole life, the whole life" and bears its heavy blessing as a miracle to which she is responsible. Like a precious cup overflowing, not a drop of which should be wasted. No whine, no grunting.
There is hope in the hidden meaning of just you – being alive. Because "it could have been the eternal cold" without you.
Through her brave "something always remains" shines Beckett's great pity for the anonymous human being and his wonder at what "helps us live with our wounds." Nevertheless. So far.
Margarita Mladenova

Theatre Laboratory SFUMATO
Director: Ivan Dobchev
Composer: Assen Avramov
Scenography: Nikola Toromanov
Costumes: Suzy Radichkova
Actors: Malin Krastev, Neda Spasova, Stanislav Ganchev
Translated by Antonia Parcheva
Stage adaptation: Ivan Dobchev
Scenography: Nikola Toromanov and Ivan Dobchev
The decision is based on a scenographic idea by Ivan Dobchev, Boris Dalchev and Mihaela Dobreva.
Costumes: Suzy Radichkova
Composer: Asen Avramov
Malin Krastev – Krap at 69 years old.
Voice - Stanislav Ganchev, 39-year-old Krap.
Neda Spasova – Mouth
Nothing is more grotesque than unhappiness.
Nothing is more real than your own You.
Nothing is more essential than the inessential.
WE ARE NOT IN EXILE, WE ARE ON A MISSION!
"Through the WORDS he had gone to the edge of something straining towards Nothingness. Well, it finally reached that limit. To introduce the WORDS into Death or the Death into the WORDS - He already knows how it is. ONLY HE... It all begins in the first lines of "Moloy" when a stalker, probably Molloy himself, narrating in the first person, hidden on a height behind a rock , observes two people who meet on the way out of town. An unforgettable image. Coming from nowhere, going nowhere with their clownish gait, the two Beckett walkers feel watched, like Vladimir, like Winnie and Krapp, and that mad Mouth in “Not I”, and everyone else. There is something to be seen and said, poorly seen, poorly spoken. TO SEE THE SEEING, EYES INTO EYES. TO SAY WHAT IS SAID, WORDS WITHIN WORDS; on the day when the writer realizes that he must advance steadily in the direction - POORLY SEEN, EVEN WORSE SPOKEN - our Proust, our Joyce, our Céline, born in the second half of the century. But also our Dante, our Pascal, our Shakespeare."
Alfred Simon
I want to dedicate that interpretation of mine on Beckett to the memory of two of my dear friends -
Krikor Azarian and Naum Shopov, who in the sunset of the so-called "mature socialist realism" had dared to stage "Krapp’s Last Tape". An unforgettable show! I have no words to describe the effect it had on all our theatrical thinking at the time. I very much wish that our play would produce this effect on the present state of the theatre.
Ivan Dobchev