Ivan Dobtchev / Margarita Mladenova
Teatro Sfumato/Margarita Mladenova/Ivan Dobchev August Strindberg Trilogy
Strindberg à Damas
Archive 2008
Théâtre de la Bastille
octoberoct 24 – 26
octoberoct 24 – 26
© @ Simon Varsano ©
© @ Simon Varsano ©
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Strindberg à Damas
by Georgi Tenev and Ivan Dobchev
Inspired by August Strindberg
Director, Ivan Dobchev
Scenography, Ivan Dobchev et Daniela Oleg Liakhova
Costumes, Daniela Oleg Liakhova
Music, Assen Avramov
Video , Lubomir Mladenov
With Rumen Traikov, Snezhina Petrova, Hristo Petkov, Malin Krastev, Elena Dimitrova
Co-realized by the Theâtre de la Bastille,
Festival d’Automne à Paris
The Strindberg Trilogy has been supported by the Onda
A work presented during the European Cultural Season in France (1st of July- 31st of December)
by Georgi Tenev and Ivan Dobchev
Inspired by August Strindberg
Director, Ivan Dobchev
Scenography, Ivan Dobchev et Daniela Oleg Liakhova
Costumes, Daniela Oleg Liakhova
Music, Assen Avramov
Video , Lubomir Mladenov
With Rumen Traikov, Snezhina Petrova, Hristo Petkov, Malin Krastev, Elena Dimitrova
Co-realized by the Theâtre de la Bastille,
Festival d’Automne à Paris
The Strindberg Trilogy has been supported by the Onda
A work presented during the European Cultural Season in France (1st of July- 31st of December)
As for Strindberg à Damas (The Road to Damascus), it tells the story of a well-known writer wandering in Damascus. The latter embodies an imaginary point of no return and the artist is portrayed as a visionary.
This is a play for the time, for hard creative achievement of the truth, until the penetration. A play for the future play. Striving to the unrealized, to the dream, to the absolute. Inexplicable. Beyond the visible, beyond the possible. In Damascus. Damascus is a metaphor – a crucial point, a place where another life begins, where you become another - reverse of the late, of the familiar, of the common… Damascus is the unimaginable. The unsmotherable creation longing of transformation.
This play is cue to the big Strindberg’s text The Way to Damascus. The excitation from that text has imagined this trip in Strindberg’s dreams, twilling the documents, the real evidences and presumptions that are started from the biography of the writer. Hypothesises on his crises, his human, his excessively human's ordeal of the spirit, his stretch beyond limits to the reality from which sometimes the return is impossible.
That is today’s play. He is away from the pretentiousness of the biographic roman. Together with George Tenev, we built our own touches in, our own experience as well and the respect to the personality of the biggest Scandinavian writer - the audacious seeker for the human August Strindberg for sure.
Ivan Dobchev
This is a play for the time, for hard creative achievement of the truth, until the penetration. A play for the future play. Striving to the unrealized, to the dream, to the absolute. Inexplicable. Beyond the visible, beyond the possible. In Damascus. Damascus is a metaphor – a crucial point, a place where another life begins, where you become another - reverse of the late, of the familiar, of the common… Damascus is the unimaginable. The unsmotherable creation longing of transformation.
This play is cue to the big Strindberg’s text The Way to Damascus. The excitation from that text has imagined this trip in Strindberg’s dreams, twilling the documents, the real evidences and presumptions that are started from the biography of the writer. Hypothesises on his crises, his human, his excessively human's ordeal of the spirit, his stretch beyond limits to the reality from which sometimes the return is impossible.
That is today’s play. He is away from the pretentiousness of the biographic roman. Together with George Tenev, we built our own touches in, our own experience as well and the respect to the personality of the biggest Scandinavian writer - the audacious seeker for the human August Strindberg for sure.
Ivan Dobchev
In the same place