The transformations we explore consist in the fact that from what is specifically contained in the text, the Absurdism passes into the principles of the director‘s thinking, and hence into the stage laws for constructing a new world. Now we think of this as an establishment of the unusual form of directors’ independence, hidden under the apparent dependence on drama. In Stoyan Kambarev’s practice, it manifests itself in a different light: independence, which does not reject, does not discredit, does not degrade the drama, but accepts it as an “accomplice”, and thus rehabilitates the director as seeking dialogue with the world around, instead of unambiguously staring at himself.
DEPENDENCE TRANSFORMATIONS OF THE DIRECTOR FROM THE DRAMA IN THE THEATRICAL PRACTICE OF STOYAN KAMBAREV
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Teya Sugareva
NATFA “Krastyo Sarafov”, BulgariaTEYA SUGAREVA holds a PhD in Art History and is Senior Assistant Professor of Directing at the National Academy of Theater and Film Arts “Krustyo Sarafov”. Her scientific research interests are in the field of directing practices in Bulgaria and collaborations between directors and playwrights. She is the author of the book Between the Dramaturgy of the Absurd and the Aesthetics of Modernism (Directing Practice in Bulgaria in the 1980s and 1990s) (2021). Since 2012, she has been working as a freelance director, for which she has been awarded the most prestigious nominations and awards in the field of theatrical art in Bulgaria – Askeer and Ikar. She is the winner of the Ikar Award (2014), the Golden Kukerikon Award (2013) and the Best-best-best Award (2012). She is interested in both timeless classic texts such as Dead Souls and Twelfth Night, as well as contemporary plays by Bulgarian and foreign authors such as Robin, Invitation to Dinner, Bull, etc. For one season, Teya Sugareva also worked in the USA, where she staged The Little Prince and two one-act plays by Tennessee Williams at the Hanger Theatre (Ithaca, NY). At that time, she also participated in the Directors Project program of the Drama League.
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Abstract:ABSTRACTThe transformations we explore consist in the fact that from what is specifically contained in the text, the Absurdism passes into the principles of the director‘s thinking, and hence into the stage laws for constructing a new world. Now we think of this as an establishment of the unusual form of directors’ independence, hidden under the apparent dependence on drama. In Stoyan Kambarev’s practice, it manifests itself in a different light: independence, which does not reject, does not discredit, does not degrade the drama, but accepts it as an “accomplice”, and thus rehabilitates the director as seeking dialogue with the world around, instead of unambiguously staring at himself.
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