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Photo: National Theater
European theater style in the chamber of the National Theater
Olya Stoyanova, who collected two applicants for her first two works of her career, comes out with a new text in the chamber hall of the National Theater and shows that she is destined to write on stage. addresses conflicts and characters. However, the text is brilliant, it recalls the construction of the European drama of Sartre’s time. Several abused men and a woman meet in a room on a very clever occasion: they participate in a group to gain emotional relief through confessions about the failures in their lives. Something like the popular group Alcoholics Anonymous.
Getting into a new person will ignite latent controversies
and there will be accusations and violence. Wonderful ground for acting achievements. Director Stefan Spasov (“Three Tall Women” and “Bet”) has faced the difficult task of finding spectacular expressions of verbal events, although without much imagination and a disposition for surprises. Emanuela Shkodreva (María) is the best in this one hundred percent acting presence. angry men.
Emanuela has the support of the author
When they begin to tell the unpleasant events of their lives, only she shares a story, not general complaints or negative conclusions. Years ago, when she started out as a television news reporter, she lost her temper, forgot her words, and ruined the show. Maria is the most flexible to escape from the ferocity of others, she is also the most understanding with their problems. Naturally, the audience’s attention is focused on Emanuela, because she creates a field of tension and expectations after her Maria intervenes in the microcosm of each of the others. There are reasons for this expressive presence: the room is hers, her mother’s former study;
strongly believes in the therapeutic role of dialogue
with confessions; She is familiar with meditation techniques. Victor (Deyan Angelov) is a supporter of Maria’s ideas, although he does not publicize them. Elegant narcissist, he earns the dislike of others by admitting that he works as a responsible civil servant informing his colleagues of his dismissal, trying to extinguish his negative emotions. The most troublesome is Dimitri (Stefan Kashev), a doctor who awaits dismissal and lives, in his words, in a hostile and disintegrating world. These preconditions for a gloomy presence, full of negativity, have steered the actor in the wrong direction and seal from start to finish a sinister and demonic face. At some point a young man (Nencho Kostov) arrives in the room who, with his stable opportunism of everything that others believe, incites violence. It is interesting to trace the transformation of the characters from “guilty” to “how well, although little, we have done.
In fact, the author’s idea is only now being discovered. As difficult as it may be to achieve, Olya Stoyanova manages to construct a work about a conflict of psychosomatic situations, and not about the favorite clash of ideas of Bulgarian authors. Which is pretty boring.
The original reason for the meeting of several faces and the inevitable escalation of dramatic tension between them is a fertile climate for acting. This quality will surely pave the way for Olya Stoyanova’s work on the stage.
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