Sunday , May 16 2021

Theater culture with stones in the pockets



Julian Petrov (left) and Alexander Hedge and Yanglub

© Velko Angelov

Julian Petrov (left) and Alexander Hedge and Yanglub

There is no need to moan the audience with a feather "- Alexander Hadjiangelov reacted sharply to the question whether the theater should teach the audience or follow his interest in choosing a repertoire, but his colleague Julian Petrov more diplomatic states that in any case a performance is done together with the audience and can not be To do if she and the people on stage are in different worlds.

The two young actors performed on the stage of the youth theater Nikolai Binav, and for three months – and their private performances were created with director Vantselav Asnov. They refuse to part of the performances "The Light" and "worthy" to quote his colleague Stefan Mavrodiev that "Theater has become a theater that does not happen." "Recently, it seems we tend to black and white settings, who says what is an ax?", Julian Petrov feels as he discusses whether the popularity of private initiative in the theater does not lead to an easy-to-read repertoire to provide revenue. It adds that there are different plays and viewers and it is true to be.

Exhaustion that gives energy

In the scene from

© Tsveti Gorkyeva, Association

In the scene from "Stones in Your Pockets"

The two chose the harder way – both for the audience and for themselves. Their project, Pocket Stones, written by Irish playwright Mary Jones, is one of those seemingly comic performances that begin to push the spectator into reflections on the problems of life, bringing him back to what he saw long after he left the room. While embodying the many Hollywood characters of superproduction shot in Ireland, players experience the crises of modern personality to deal with the choice to sink or continue to look at the sun.

On stage alone, Petrov and Hajl Yanglov perform a total of 14 roles, impressively, at an impressive pace and in the game, really attracted the attention of the audience for more than an hour and a half. They rely on this test of Ventsislav Asenov, with whom they have already performed a lot of performances and know what is capable of taking out the players. They define the play as virtuoso because it combines an iron drama with improvisation. The dynamics of performance are debilitating (something the audience can see on their faces during the applause), but at the same time loads them with tremendous energy and is ready to play every night.

They are aware that the play will not be interesting for an audience that wants to be released today in the theater. At the very least, follow-up action requires focus. "It's not like watching" friends "and jump to the kitchen to prepare eggs for dinner, then goes back to television and not missing anything significant," concludes Alexander Hadjiangelov. Their performance is not fashionable this season and therefore attracts viewers who want theater, do not specify in the social networks of the hall. It also explains why during the appearance in the hallway there is almost no display screens illuminated by smartphones.

Theater as a private business

Julian Petrov

© Velko Angelov

Julian Petrov

So far, "pocket stones" were mainly exhibited in Sofia, but this month began to leave the capital. They were already in Samokovov, they came to Lerza and Rosa, and in September and Hamburg. They joke that the show was picked up in the car of Julian Petrov – the actors and the director in the cabin, the demand – in the trunk, ready for a tour.

They look at their performance as a private business, hoping to bring them satisfaction, income and travel, so they do not complain about the inevitable difficulties. "We had to diversify and decided to do something for ourselves because sometimes you put it all on your own, and for reasons beyond your control, things do not happen and that makes you angry," says Alexander Hadjjanielov. "I like to control things and that's why I prefer that everything depends on me."

Three of them with Ventsislav Asenov assimilate the things behind such a business beyond the artistic performance in motion, from the registration of the association, through the payment of discount discounts and purchase of the cash register to sell tickets for the provision of hall, lighting, disposers. They fund the whole adventure with personal money.

A difficult task is also to promote the show, which is also entirely in their hands. They are aware that the word-of-mouth principle is good, as much as they appreciate their work, but it is not enough. "There are at least 20 performances in Sofia every night, and you have to convince the viewer to come to your place else for which his friends bought tickets," explains Julian Petrov. He says he understood only the need for an organizer to take these debts. And since it is still a mirage for them, now the three are complicated complexity of social networking ads and negotiations with advertisers.

When there is no Saturday and Sunday in the calendar

Alexander Hadjajnikov

© Velko Angelov

Alexander Hadjajnikov

The directions in which the two are searching for their way are still very much their time as students at the National Academy of Theater and Film Arts (NATFIZ). In addition to the theater, Julian Petrov is already performing his lead role in Radoslaw Spassov's "Poetry Shoes", where he plays Eddie Kazasian. He participates in "Karetsi" by Ivaylo Hristov, who is a graduate, and in some short films. The popularity, as might be expected, brings him a series – "Dear heirs." Alexander Hadjajnikov, who graduated from the class of Atanas Atanassov, has won a number of theatrical awards including "Askeer" (2016) as a rising star for the role of chicken in the novel performance of William Wharton at the Youth Theater. His most serious performance in front of the camera is the lead role in the film "Radiographer", which won the audience award at the Sofia Film Festival.

Their load is serious – sometimes up to 12 hours a day, including reps, photos, one or two shows a day. Saturday and Sunday are lost because of children's performances – they are very traditional in the youth theater, and there is almost no one at least one of them does not participate (some of the results of the program are again led by Vantaslav Asnov). They laugh that they will not give up on a free weekend, but they do not really look at their works as stones in their pockets – on the contrary, it keeps them fit and makes them grow: "The clutter, especially before the debut, turns you into a nude design, ready to respond to everything."

Makeup at the Youth Theater

© Velko Angelov

Makeup at the Youth Theater


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