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Here magic spell will do convey

To tragic life a taste of play.

REFUGEES WELCOME (2016-2019) by Zdrava Kamenova & Gergana Dimitrova AS THE IN LOVE & AN ARTIST

Directed by Gergana Dimitorva, DNA (Sofia)
Starring: Zdrava Kamenova, Vladimir Angelove, Eva Danailova / Ekaterina Georgieva, Iva Todorova, Peter Meltev / Alexander Mitrev, Petko Kamenov, Toni Karabashev

“Refugees welcome” explores the boundary between patriotism and nationalism, the limit of healthy tolerance and sympathy, the back and the front of Bulgarian identity today. During the Europe's migrant crises the Bulgarian president calls all Bulgarians to actively participate in a national campaign for attracting refugees to stay in the country as this will ensure the very much needed EU funds. All Bulgarians – men, mothers, hunters, retirees, artists – begun an active propaganda, targeted at the refugees, bypassing the country.

PARTS OF THE WHOLE (2005-2006) after Yordan Radichkov AS RABISHA

Directed by Stilian Petrov, The National Theatre of Satire (Sofia)
Starring: Delyana Hadjiyankova, Albena Georgieva, Rositza Ognianova, Vladiir Angelove & Danail Obretenov

The Title: The mistake is part of the memory. Memory is part of man. Man is part of life. Life is part of the whole – the universe, with its radio sounds, squeaks, chirping, reverberation, quiet voices, mysterious and unreadable sounds – similar to space music.

The Theme: Death does not destroy, it only changes life.

The Space: The boundary between the Ulterior and the Here. A zone where you do not know when you come in and how far you go. Where the differences are slowly established and most of the things do not work the way you know they work.

The People: The Ones from Here – The One-Without-Memories and the Disabled One, in their path and meeting with the Ones from the Ulterior. A meeting that extends their lives, arranges missing parts, brings memories, and adds people who have not been Here or were otherwise. People whose deaths have not erased the mistakes, but on the contrary, it has accelerated them, made them more irrevocable and feverish. The Death that does not interrupt, but passes over pieces of life, parts of the whole. The parts that do not cause any consequences, but they continue to move in and with them, and that is their only Ulterior reality. A reality in which every action leads to nothing further.

THE BOOK OF THE KINGS by Margarit Minkov as Tzar Peter

Directed by Assen Shopov, National Theatre “Adriana Boudevska” (Bourgas)
Starring: Vladimir Angelove, Stoyan Pamukov, Bogdan Glishev, Todor Shtonov, Stoyan Gerganov, Krasimir Katzarov, Aglika Boyadjieva, Nikolay Stoimenov, Valery Elichov, Yurii Angelov

Peter, son of Simeon the Great and Tsar of the Bulgarians, once ruled in Preslav town. Not so long ago, Margarit Minkov wrote the play "The Book of the Kings", which tells how in Preslav town rules almost everybody else but not the crowned Peter.

The team consists of members of the theatre’s ensemble and free-lanced actors. Two of the guests – Vladimir Angelove (Tsar Peter) and Bogdan Glishev (the logothete Georgi Sursubul) are entrusted with some of the most important roles, which are best executed. Vladimir Angelove wins the audience with his sincerity, no matter what annoyances and demagogues he has to spew over most of the time. His partnership with Stoyan Pamukov is also fascinating, and with a lot of charm, energy and zeal is embodied in the antipode of the royal personality – the crafty, yet sencere peasant Peter. The performance manages to create the atmosphere that is expected from a historical drama – nostalgia for past glory times, the smell of intrigues and ruins, nobility and corruption.

SOLARIS by Stanislav Lem AS KEVIN

Directed by Stoyan Radev, Sfumato Theatre (Sofia)
Starring: Ana Papadopolu, Vladimir Angelove, Georgi Karkelanov, Danail Rashev, Iva Todorova

The twentieth century, the age of technology's apotheosis, actually begins with the premonition of its crisis, the search for the limit from which the science cease to be human. This is the general framework in which the director takes a conversation about the "forgetting of living", so we do not understand it. He says he wants his show to happen as a story. And he chooses the simplest possible means (but the most difficult ones). His dramaturgy is clear of all unnecessary overburden and logically follows the development of the plot. All visual effects are hindered by the science fiction novel (except the light-like appearance of clouds, fog, water vapor over the living ocean of “Solaris”), and the actors play on a empty stage, without any set and without any props. A huge challenge for them, and for the director who, if he wants to tell stories, may need to learn more techniques to work with the actors from realistic theater. But anyway, the story is told and the subject of "conversation" is clear. The means of expression appear to be properly chosen, and that "Higher Thing behind which the director wants to hide" is actually coming to the fore.

The Betrothal by Maurice Maeterlink AS THE MOST-LITTLE-ONE

Directed by Marius Kourkinski, National Theatre of the Satire (Sofia)
Starring: Graduates from the class of prof. Stefan Danailov

THE PITCHFORK DISNEY by Philip Riddley as Cosmo Disney

Directed by Galin Stoev, Theatre 199 (Sofia)
Starring: Krasimira Kuzmanova, Emil Markov, Vladimir Angelove, Deyan Donkov

Presley Strey (Emil Markov) and Haley Strey (Krasimira Kuzmanova) are brother and sister who, after the death of their parents, live in the chocolate world of their childhood memories, nightmares and fears, promising each other to never leave their home. Presley goes out just to buy their favorite chocolate and returns immediately into the refuge of their fantasies. For the first time while his sister is sleeping, Presley invites someone from the outside world despite the promise – Cosmo Disney (Vladimir Angelove) and Villa Cavalier (Dejan Donkov). He invites them in to understand at the end of the play that he was wrong allowing it. Because the outside world that he lets inside their home lives for and from the horror and pays only for the pleasure from it.

Leonce and Lena (2001) by Georg Büchner as Leonce
Directed by Emil Popov, NATFA Theatre "Krustio Sarafov" (Sofia)

Giraffe (2000) by Marii Rosen as Down
Directed by Marii Rosen, National Theatre of Satire (Sofia)

The Powder Keg (1999) by Deyan Dukovski as Blagoi and Topuk
Directed by Ivailo Hristov and Prof. Stefan Danailov, NATFA Theatre "Krustio Sarafov" (Sofia)

Rosencrantz And Guildenstern Are Dead (1999) by Tom Stopard as Rosencrantz
Directed by Prof. Stefan Danailov, "Mr. Punch" stage (Sofia)

We, the sparrows (1999) by Yordan Radichkov as My-Dear-Sir
Directed by Andrey Belchev, National Theatre of Kjustendil City

Sid (1998) by Pierre Korney as Sid
Directed by Andrey Belchev, National Theatre of Haskovo City

Shakespeare For The Fans (1997) after Shakespeare as Benedict, Jack The Melancholic and Tranio
Directed by Stoyan Radev, The National Theatre of the Satire (Sofia)

The Little Red Hat + (1985) after Charles Perrault as Wolfy Wolf
Directed by Nickolay Aprilov, National Palace of Culture (Sofia)

White Tale (1985) by Valery Petrov as Vancho
Directed by Madlen Choulakova, Theatre "Revival" (Sofia)

sound uttered by the mouth, especially by human beings in speech or song; sound thus uttered considered as possessing some special quality or character.

an electronic medium for the recording, copying, playback, broadcasting, and display of moving visual media.

an art form, created by organizing of pitch, rhythm, and sounds made using musical instruments and sometimes singing.