A Platform for Arts Institute of Art Studies, BAS

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ARCHITECTURE TWO CONGRESSES DEALING WITH ANTIQUITY: SEPTEMBER, 2017 Stela Tasheva, Sasha Lozanova page: 04

THEATRE FESTIVALS THE 25TH EDITION OF VARNA SUMMER INTERNATIONAL THEATRE FESTIVAL: GATHERING A VARIETY OF THEATRE VOICES Kamelia Nikolova page: 10

FINE ARTS AN EXHIBITION OF THE ATHENIAN TECHNI (ART) GROUP ON THE OCCASION OF ITS CENTENARY Irina Genova page: 16

MUSIC HIP-HOP AND BREAK IN “EQUILIBRIUM” DANCE PERFORMANCE Anelia Yaneva page: 22 SCREEN ARTS “OPEN-MOUTHED” BY CRISTINA GARCÍA RODERO Yosif Astrukov page: 29

ARCHITECTURE THE RETHINKING OF RELIGIOUS BELIEF IN THE MAKING OF MODERNITY, BLAGOEVGRAD, 2017 Stela Tasheva, Sasha Lozanova page: 33

MUSIC THE SLEEPING BEAUTY ONSTAGE IN BURGAS Rosen Metodiev page: 37

MUSIC THEATRE PARSIFAL: A BRILLIANT OPENING OF A SUCCESSFUL SEASON Stavri Angelov page: 41

MUSIC PRINTED MUSIC AND SONGS OF THE DAYS OF PETER DEUNOV’S SCHOOL Anelia Yaneva page: 48 ARCHITECTURE TWO CONGRESSES DEALING WITH ANTIQUITY: SEPTEMBER, 20171 Stela Tasheva, Sasha Lozanova

of Tracology, BAS; National Archaeolog- ical Institute with Museum, BAS; New Bulgarian University and Iskra Kazanlak History Museum. Though, of course, the efforts of colleagues from Kazanlak Municipality and the city’s cultural insti- tutions should not be underestimated, it was UNESCO that provided the bulk of the funding. The thematic scope of the congress- es of Thracology is consistent with the broad time, regional, ethnic and cultur- 1.The Thirteenth Internation- al areas of research in this field. Thus al Congress of Thracology: Ancient historians, archaeologists, linguists, Thrace: Myth and Reality, Kazanlak, numismatists, art historians, etc., dis- 3–7 September 2017 cuss the problems of Ancient Thrace A congress of Thracology was first locally (with respect to the Balkans) held in Sofia, in 1972, coinciding with and/or globally (Europe-wise). the founding of the Institute of Thracian The number of the participants in Studies, BAS, now within the Institute of the recent thirteenth congress was im- Balkan Studies and Centre of Tracolo- pressive: a total of 180 researchers de- gy, BAS. The following congresses were livering 140 papers and exhibiting 40 held in such capitals as Sofia, Moscow, posters with such significant figures and Vienna as well as in such cities as Is- and pioneers in the field of Thracian tanbul, Rotterdam and Constanţa. This studies among them as Maria Chichik- year, Kazanlak joined in: a very good ova, as well as representatives of the choice made by the organisers of the middle and the younger generations congress: the University of Sofia; Centre of researchers. Such an age diversity

4 of scholars trained in different schools growing interest in Thracian studies inspires hope. The presence of col- and their promotion among wider cir- leagues who have completed their cles of specialists. MRes or doctoral studies abroad and Genre diversity is inevitable at such have come back to live and work in events: from extensive plenary lec- Bulgaria, e.g. Dr Hristomir Hristov (Na- tures to communicating individual val Museum, Varna) and Dr Vessela fieldwork; from strictly scientific re- Atanassova (NBU, Institute of Balkan ports to interdisciplinary papers in Studies) was also gratifying. different archaeological fields, incl. Among the participants from Eu- anthropology and geophysics. Every rope, Asia and Africa, the most nu- attendee could derive useful informa- merous were the authors from Balkan tion from the variety of viewpoints and countries (Bulgaria, Romania, Greece, theses. That was the reason why dis- Turkey, Macedonia). The official lan- cussions went beyond the halls of the guages of the congress were English, parallel sessions and the procedure. French and German. Such a high re- Very impressive was the visit to and search activity was indicative of the in situ familiarization with a series of

5 religious sites in the so-called Valley of between the arts in the synchronical- Thracian Kings. Sightseeing of ancient ly developing Roman provinces (e.g. burial mounds and complexes (in Al- in the field of sculpture by Dr Marina exandrovo, Strelcha, Hissar, Starosel, Koleva, Institute of Art Studies, BAS). etc.) was a highlight in the programme The choice of the venue, in the par- of the event, piquing the visitors’ inter- ticipants’ onion, i.e. of the city hosting est after the closing of the congress. the event, was very good due both to Diana Dimitrova nd Mitko Madjarov, its location right in the heart of the an- researchers and archaeologists who cient Thracian lands and the riches of have participated in the excavations, the local culture, architecture and sce- took care of the high quality of the pro- nic landscapes. Kazanlak boasts fine vided information. buildings and complexes, churches Some comparative analyses of and mosques of the period of Bulgari- Thracian artefacts of material culture an National Revival; elegant residential and their equivalents from more ‘re- and public buildings of the late nine- mote’ civilisations in Egypt, Palestine, teenth and the early twentieth centu- Scythia, etc., aroused discussions dur- ries. Constructions in the style of the ing the sessions. There were also clas- late Modernism in the centre of the sical viewpoints on studying parallels city such as Arsenal Community Cen-

6 tre and Kazanlak Hotel and even the recently built Museum of Roses were of great inertest to the historians of ar- chitecture and art. Some of the guests succeeded in visiting sites outside the programme such as, for example, the abandoned and crumbling (unfortu- nately) Buzludzha Monument that has become a hallmark of a kind of Bulgar- ia’s late twentieth-century architecture. 2. The Sixth International Con- gress on Black Sea Antiquities. The Greeks and Romans in the Black Sea and the Importance of the Pontic Re- gion for the Graeco-Roman World, 7th BC – 5th AD): 20 Years On (1997–2017), Constanţa, Romania, 18–22 Septem- tion of posters as a collateral event. ber 2017 The congress was held at the Ovidius Prof. Gocha Tsetskhladze, affiliat- University of Constanţa in September, ed to Linacre College, Oxford is the when there are no classes. The hosts main figure behind both this and the organised visits to the National Histo- previous congresses (e.g. in Istanbul ry and Archaeology Museum of Con- in 2009 and Belgrade in 2013). The stanţa and its exterior expositions with event became possible once again fortresses and ancient mosaics. Archi- owing to his initiative; activity; exten- tecturally, the numerous churches of sive contacts and global cooperation different confessions, the mosques with colleagues both form the East of the late nineteenth century and the and the West, incl. Australia. ruins of the Grand Synagogue and the The Congress was dedicated to the Casino piqued the visitors’ interest. th 90 anniversary of Prof. Sir John Board- Over the last decades, Constanţa has man (University of Oxford). There were seen a rapid growth increasing its im- 145 registered participants, the con- portance of a seaport and a cultural gress proceedings being traditionally hub. The city boasts significant collec- published by Archaeopress (Oxford). tions, kept at the Art Gallery and the A programme of successive papers Folk Art Museum. without parallel sessions was offered Informative for the participants for five days with a permanent exhibi-

7 were the trips to Central and North with new ethnoarchaeological topics. Dobrudja, a region with unpolluted na- Discussions did not ebb away both ture and rich cultural heritage, home in the hall and the lobby, housing the to nineteen ethnic groups from Antiq- exhibition of posters in front of it. Tra- uity to the present day. Many derived ditionally, Bulgarian archaeologists pleasure from the journey onboard a demonstrated high standards in re- ship to the Danube Delta. search. As for art historians, they were Some of the participants in the Con- especially interested in the posters gress of Thracology (mostly archaeol- featuring the discoveries of: ogists) delivered papers on their re- Maria Reho, Margarit Damyanov search at the Congress on Black Sea and Krastina Panayotova: Cold case Antiquities. The reason for this was in reopened: a Late Classical tomb in the partial concurrence of the prob- Apollonia Pontica; lematic and regional areas as well as Teodora Bogdanova, Margarita Pop- in the closeness of the historical peri- ova, Dimitar Nedev and Milena Kru- od as set by the topic of the congress. mova: Hellenistic Family Tomb from Studies on the Black Sea region pre- Apollonia Pontica sented in Constanţa were though en- Zdravko Dimitrov’s paper on Anato- riched with additions to zooarchaeol- lian stonemasons and the western Pon- ogy, maritime archaeology as well as tus region: imported models and tech-

8 niques in the architectural decorations ers from different countries in these of the early Principate and Mila Chache- events dealing with Antiquity and the va’s poster Ward off evil? Anthropomor- Black Sea region, are indicative not phic rod-formed glass pendants and only of the evolution and enrichment beads from West Pontic Greek colonies of these fields, but also of the poten- presented art material related to ar- tial for future finds and discoveries. chitectural decoration and glass arte- We believe that in such a context, the facts worn next to the skin. We’d note studies undertaken by the Bulgarian here their participation for the huge college would be given yet another im- amount of their finds of high art qual- petus and deserved recognition. ity. The rare finds and analyses of an- 1The authors of this article took part cient glassware performing apotropaic in the congresses with collaborative and decorative functions in their texts posters themed respectively: Archi- were also worthy of attention. tectural Images on Antique Coins from The next Congress has already been Bulgarian Lands (Roman Empire) and timed for 2021, in Thessalonica, at the Ancient Pottery from the Balkans: Archi- International Hellenic University. tectural Motifs. We can make a conclusion that such mass participation of research-

9 THEATRE FESTIVALS THE 25TH EDITION OF VARNA SUMMER INTERNATIONAL THEATRE FESTIVAL: GATHERING A VARIETY OF THEATRE VOICES Kamelia Nikolova

dynamically during its existence in the past quarter century. It was launched as an imitative to present the best of Bulgarian theatre along with a few foreign productions. Since 1997, it has evolved into a major international event to later stand alongside the high-profile European festivals. There were four modules The 25th edition of Varna on the festival’s bill: Main Summer 2017 International Programme, Bulgarian Selection; Theatre Festival, Bulgaria’s biggest Main Programme, International theatrical event, was held between Selection; Showcase and Parallel 1 and 11 June in Varna, a city Programme. Maintaining an scenically located along the Black established tradition, this Sea coast. Established in 1992 anniversary edition featured a rich as part of the then common to tapestry of foreign and Bulgarian East Europe’s striving for renewal theatrical and dance productions; and meeting with the western discussions; sessions with parts both of the Continent and teams; a theoretical conference, the world following the political exhibitions, performances, street changes of 1989, the festival performances, screenings and has developed powerfully and concerts. Forty-one events having

10 A Terrified Soul (Macbeth). Anhui Provincial Peking Opera and Hui Opera Institute, China the motto Invented Worlds and among what was the best this held not only in the halls but also season in this country: the elsewhere around the city as well compelling and ingenious No in Bulgaria’s capital with the World Man’s Land by Stoyan Radev, Theatre in Sofia platform launched based on the 2001 movie of the in 2007, ushered audiences and same name by Serbian writer/ guests. The most convincing director Danis Tanović; What Is evidence of the success both of a Name?, a inventively staged the anniversary edition and of the comedy by Matthieu Delaporte overall policy––up-to-date, well and Alexandre de La Patellière, devised and consistent––of the directed by Zdravko Mitkov, festival over these two decades Theatre of Satire, Sofia (Icarus and a half were the full to bursting 2017 Award for Best Performance); halls as well as the critical acclaim incisive Anna Karenina after Leo received from the many attending Tolstoy, dramatised and directed theatre experts, selectors and by Nikolay Polyakov, Sofia Theatre curators at international events. (Icarus 2017 Award for Best The Bulgarian selection included Director); stylish Plamen Markov’s 9 performances, selected from renditions of Shakespeare in Love

11 after the film script by Marc best European and international Norman and Tom Stoppard productions: Diary of a Madman (Drama Theatre, Varna) and by of Hungarian director Viktor Stayko Murdjev’s staging of Equus Bodó, winner of New Theatrical by Peter Shaffer (Youth Theatre) as Realities 2016 Europe Theatre well as The Bright Future of the Flea Prize; Autarcie (….) A search Market based on the 2015 Nobel for self-sufficiency by French Prize winner for literature Svetlana choreographer Anne Nguyen; Alexievich’s novel Second-Hand Desplante, a contemporary Time, dramatised and directed by flamenco performance of Spanish Ivan Dobchev, Sfumato Theatre dancer Eduardo Guerrero; Live Laboratory. Cinema theatre/film concert by The international selection’s documentarian Sam Green and focus at the anniversary edition animator Brent Green (US), etc. was on Asia and particularly, SoftMachine: Rianto & Surjit the intensive dialogue in that (Germany/Singapore) and Diary continent’s theatre between the of a Madman (Hungary) stood out eastern and the western traditions, from this rich and multifarious between the heritage and the international programme. novel ideas, between history and The title of the documentary present day. The international dance performance SoftMachine: programme included a traditional Rianto & Surjit by Choy Ka Fai, a Peking opera, A Terrified Soul choreographer from Singapore, (Macbeth), based on Shakespeare’s who graduated in 2011 from the tragedy, of Anhui Provincial Royal College of Art, London, with Peking Opera and Hui Opera MA in Design Interaction and Institute, China; a documentary since 2014 had worked mainly dance performance, SoftMachine: in Germany, was borrowed from Rianto & Surjit by Berlin-based the popular novel by William Choy Ka Fai, a choreographer Burroughs, where the writer from Singapore; Skins, a dance refers to the human body as miniature by Lee Jung In (South a ‘soft machine’ exploring the Korea/Austria). Apart from mechanisms of its control. This performers and companies from performance is part of Fai’s project Asia on its international bill, this seeking to explore the manner in year the festival maintained its which the work of contemporary tradition to present some of the Asian dancers and choreographers

12 Anna Karenina after Leo Tolstoy, directed by Nikolay Polyakov, set design by Marina Raychinova, Sofia Theatre, photo Simon Varsano mixes and catalyses eastern show of Tamás Keresztes directed traditions with the artistic by Viktor Bodó; Songs from My techniques and strategies of Shows, a concert performance of European contemporary dance. famous Bulgarian performer Ivo Fai went on an expedition Dimchev and the abovementioned between 2012 and 2015 to five SoftMachine: Rianto & Surjit. Asian countries to conduct Hungarian actor Tamás Keresztes’ interviews with local dancers and performance made a deep record their performances where impression. Against such a they, starting from the traditional powerful backdrop, it stood out as dance techniques inventively evincing fine artistry and easiness, transform them into the aesthetics based on contemporary refection, of contemporary dance. The great erudition and inventiveness. audiences of Varna festival had In the ingenious reading of the chance to get to know the Gogol’s famous short fiction individual stories and experience by Viktor Bodó and Tamás of two of these artistes: Rianto Keresztes, the unusual world of (Indonesia/Japan) and Surjit a civil servant, Poprishchin, who (India), spectacularly performing gradually loses his mind, distorted traditional and contemporary and transformed through his dance. subjective misperception, is set On 4 June, three striking directly on the podium. In the total performances succeeded one darkness of the stage/universe, a another during a stunning night lonely pendant lamp sheds light to demonstrate brilliant acting: on a strangely deformed cube Diary of a Madman, a one-man with an irregularly shaped and

13 proportioned door on its front and its metamorphoses as an side, at which a slim human image emblematic of Poprishchin’s figure writhes and shudders in world is a starting point and a key an unnatural posture. The silent achievement of Tamás Keresztes’ expressionistic morbidness of one-man show. Tellingly, the actor this scene is suddenly broken or himself is also the designer of the rather deepened by a harsh loud set. whisper of the writhing human Another emphasis in the spatial silhouette: ‘Fantastic! Fantastic!’ solution of Tamás Keresztes is The cube makes a turn on its axis, a digital device mounted in the also asymmetrically fixed to the messy room and used by the floor to show Poprishchin’s abode: character to record, merge and a strange room cast into the pith- mix sounds like DJs do nowadays: black darkness of the surrounding hiccups, screams, wheezes, and practically missing outer unusual falsettos and the noises he word opening up two sides to it: himself produces. Thus along with to the audience and to the right. the mobile and multifunctional The few things it contains are also character, twinning a human being distorted in an expressionistic and a house, the actor’s voice and manner: a narrow desk on thin sound become a major element of long legs put into an unnatural the performance. In fact, recording perspective, an correspondingly the sounds he (believes that he) small stove, a chair, a window and hears and rearranging these in the abovementioned door. The tunes, meanings and rhythms, room is undergoing yet another which he himself composes using metamorphosis in the course of contemporary media, Poprishchin the performance: in the end, when played by Tamás Keresztes Poprishchin is taken to a mental not only renders––directly and home, it revolves to stand on one effectively––the ‘stories’ born of its sides and now its wooden and unfolding in the character’s floor becomes the bars with the drifting mind, but also makes a body of Poprishchin’s troubled surprisingly relevant suggestion: soul writhing behind them. He and man nowadays using digital his world are one: he is always in technologies to invent and create his ‘room’ unable to leave it as it is a world to live in may well face built in his twisted mind, reflecting loneliness and lose touch with its workings. The deformed room reality, voluntarily heading for a

14 Tamás Keresztes in Diary of a Madman, dir. Viktor Bodó, Hungary new ‘madness’. and discussions of various theatre Usually, (one-man)shows voices woven into the current of Gogol’s Diary of a Madman tapestry of Bulgarian, European are performed by great and world theatres alike. and brilliant actors. Tamás Keresztes’ performance not only accomplishedly maintains and ingeniously continues this tradition, but also adds to it keen contemporary sensibility and relevance. This is undoubtedly the most contemporary rendition of Gogol’s novelette I’ve watched onstage. Varna Summer International Theatre Festival’s 25th anniversary edition has convincingly proved once again its role of a significant and in-demand venue for meetings

15 FINE ARTS AN EXHIBITION OF THE ATHENIAN TECHNI (ART) GROUP ON THE OCCASION OF ITS CENTENARY Irina Genova

Director of the National Art Gallery and Alexandros Soutzos Museum; architectural design by Sonia Charalambidou. The early Tehni was established on the initiative of Nikolaos Lytras in 1917 and existed until 1919. It was primarily modernist in orientation and had not a clearly stated manifesto. Departing from the pre- war Academism, dominated by the Early this September, I was happy Munich School, they turned their to visit the exhibition of the Athenian attention to the new developments Techni Group (Omada Tehni/Art of Parisian the art scene. Founders Group) on the occasion of the of the Group, besides Lytras, were Group’s centenary, on display in the key figures in Greek modern art halls of the Byzantine and Christian such as Konstantinos Maleas, Museum, Athens, opening on 7 Konstantinos Parthenis, Theofrastos June running through 29 October Triantafyllidis, Michael Tombros, 2017. The show was mounted by etc. The Group set no strict limits, the National Gallery – Alexandros putting on display works by visiting Soutzos Museum, waiting for the artists and its members took part in completion of its new building. various art events. Curators: Marina Lambraki-Plaka, The retrospection showcases Director of the National Gallery and the three exhibitions staged by Olga Mentzafou-Polyzou, Honorary Techni Group in the period of its

16 existence 1917–19191. The first Along with this, important subjects of one was arranged in the offices the artistic practice of the Athenian of the Eleftheros Typos (Freedom artists are emphasised with the of the Press) daily; the second, image of the Acropolis among them, on the premises of the Anatolian an ever-present symbol of Antiquity Advertising Agency and the Group’s in the heart of the contemporary final exhibition was on display in capital. A group of landscapes by Paris, at the La Boétie gallery. Konstantinos Maleas pinpoints the Along with the artworks presently attention upon this subject. The on display, the research work of the culture of the Antiquity was of major team behind the exhibition included interest to Parthenis. The visual archival records, catalogues, reviews notions, adopted and reworked and monographs of that age, from the experience of the Sezession photographs and albums, a diary and Symbolism, have the effect of from the archives of Konstantinos an emblematic image of modern Maleas and so on. The architectural Greece. The pieces of scenery–– design of the halls gives an idea of the specific variable light, sparkling the spatial solutions to those three colours, the sunny skies and the shows. Visitor’s eye is attracted to sea, the numerous islands, the find concurrences in pictures from stone pines and the white-pinkish the archival photos, enlarged as houses––are a significant part of the fragments in the halls, with those modern rendering and expression on display in the present exhibition. of the typical ‘Greek’. Konstantinos 17 Maleas, Theofrastos Triantafyllidis, to it as part of the broader Lykourgos Kogevinas, etc., are modernist agenda of the Liberal among the compelling painters. The Party3 to promote new art forms. experience of Post-Impressionism, The acquired artworks exhibited of Pierre Bonnard and Jean-Édouard at the time testify to this fact. The Vuillard, of Cubism and collage along large photo prints give an idea of its with other trends related mainly general view and the atmosphere to colour came to be an important of the exhibitory space, brimming impetus for modern Greek artists. with furniture, flowers and carpets. The Group’s first exhibition, Portrait busts of Venizelos and including an impressive number of King Alexandros I are discernible. works, a total of 144, was unveiled As for the genres, mostly portraits on the eve of Christmas 1917 by and landscapes were on display. the then Prime Minister Eleftherios The show welcomed thousands of Venizelos in the presence of King visitors and was hailed by the press. Alexandros I2 and other officials. The The second Group’s exhibition was art event had a political dimension mounted early in 1919, in Athens.

18 The curatorial project has devoted the auspices of the Prime Minister, special attention to the Group’s Eleftherios Venizelos, who attended last and final exhibition, which the Conference. This exhibition opened doors on 2 September implemented a law passed recently 1919, in Paris during the Paris Peace by the Liberal Government, which Conference marking the end of provided for staging exhibitions WW1. The event was held under abroad to promote the country.

19 The group exhibition of Greek military cooperation between the modern artists at the La Boétie two countries in the world war. gallery included 200 paintings, The present exhibition of the engravings and sculptures. Four Group is recorded in a voluminous Greek artists living in Paris at that catalogue in Greek, providing time joined the show: Dimitris extensive texts by the curators Galanis, Markos Zavitsianos, and a number of archival records. Stavros Papapanagiotou and Pavlos The project is offering a valuable Rodokanakis. We were informed that discussion on art events in broader Kogevinas had the greatest presence political and social contexts. Those, in the exhibition (45), Maleas and who, unfortunately, are not fluent Parthenis participated with 30 in Greek, are provided with texts in paintings each. The French Airport English in the exhibition itself as well in Corfu (1916) by Konstantinos as on the National Gallery’s website Parthenis draws visitors’ attention to help them perceive and interpret at the present exhibition. Its aircraft the show. taking to the skies reminds of the Presently, any art historical or

20 critical practice is comparative. български художници в Атина. A comparative perspective is – Проблеми на изкуството, 2000, anticipated and inevitable in the 1, 40–54; Мутафов, Е. Мутафов, Е. conditions of an eventful media – Поколението на 30-те и група- environment. The exhibition of the та “Техни” в гръцката култура. – Athenian Techni Group occasioned Проблеми на изкуството, 2000, 1, by its centenary, professionally 55–57. mounted by a team of the National 2 King Alexander I of Greece was Gallery, Athens allows comparisons the younger son of Constantine I, both with the art developments and who abdicated the throne. Alexander cultural policies in Bulgaria of the age I was enthroned in June 1917. and present exhibitory practices. 3Eleftherios Venizelos led the 12 September 2017 Liberal Party and was elected as 1 Of the second Group, established Prime Minister in the same 1917. in 1930 and presented in Sofia in 1936. see Генова, И. София – Ати- на: две разменени изложби. Из- ложбите на „Техни“ в София и на

21 MUSIC HIP-HOP AND BREAK IN “EQUILIBRIUM” DANCE PERFORMANCE Anelia Yaneva formances presented in Per- nik, Sofia, Dupnitsa and Ban- sko. The group was nominated for the Best Hip-Hop Dance Company at the fourth edition of Bulgarian Hip-Hop Awards 2016, making it to the Top 5 of a total of 25 groups and was ranked first by the fans. X-Energy Crew was formed In two successive perfor- in 1999 in Sofia. Its members mances held in Pernik and So- have been working for over a fia of a show titled Equilibri- decade and a half now towards um, two Bulgarian companies promoting hip-hop culture in of street dances––hip-hop and this country. They have par- break––DA Clique and X-Ener- ticipated in a number of inter- gy Crew were joined by Ber- national festivals, advertising lin-based Flying Steps Acad- campaigns, movies, competi- emy. Let’s begin with a short tions and charity events. presentation of the companies: Formed in 1993 in Berlin, Fly- DA Clique was formed in ing Steps is among the most 2012, uniting some 70 young successful companies in de- dancers, training in Pernik, So- veloping urban dance interna- fia, Radomir, Breznik and the tionally. Presently, Flying Steps region. For the time being they Academy trains over 1,000 have staged eight dance per- dancers from across the world

22 and is believed to be the most suggests a kind of competitive- prestigious dance school in Eu- ness, but it has been success- rope. fully suppressed to channel What Equilibrium surprises all the energy into a common with is the ability to build a per- goal: making a performance. formance. Dance companies I attended the performance would more often than not given at Iskur Community Cen- face such a problem: interest- tre, Sofia and that is why I can ing dance combinations, spec- comment on it solely, but sup- tacular turns and somersaults posedly, the performance giv- on the ground and/or in the air en in Pernik the previous day without being able to blend all developed in the same way. these into a general concept. After the introductory That is the reason why com- demonstration of the techni- petitions where certain combi- cal skills of the companies, the nations are presented onstage performance itself began with and juries gradually eliminate a narrator announcing that the the participants to select the action ought to be followed best are the most popular for- carefully due to the ample sym- mats for such dance compa- bolism. The mythological crea- nies. tion of the earth was present- Equilibrium has made a suc- ed: God creating the earth, the cessful attempt to avoid frag- creatures of the sea, birds, an- mentariness and competitive- imals, man and the woman ap- ness, typical of street dances. pearing as his shadow (a very The very fact of three groups interesting duet of the two, participating in a production which in its display of acrobat-

23 ics was reminiscent of some of new emperor (associated with the supports of Pilobolus); how Napoleon following the French social differentiation came Revolution) was marvellous- into existence: some scrub ly represented. The emperor the floor, others are engaged separated the lovers to marry in salon dances in the palace; the girl. and how the lowest of the low, This ongoing comparison be- the cleaners poison the king tween couples of lovers (dif- and the queen (an association ferent in the different histor- with Hamlet perhaps), provok- ical periods) and the chanting ing a revolution (the French crowds, who trample upon one maybe, which toppled the love in their striving for dom- king). This first regicide led to ination, was shown on more a series of episodes of strug- than one occasion at different gle for power. The first human levels of the development of couple (a version of Adam and our civilisation evolving into Eve) multiplied over the years versions of the Matrix with the into other couples with their result being the same: com- love always trampled upon by petitiveness growing into in- growing hatred and aspiration tolerance against the other to dominate. The grand throne and the weaker. This led God of human bodies seating the to despair. The idea of God is

24 in fact represented in a trinity by creatures of the sea, birds, of a kind: God is the original animals, and men in their nev- thought and harmony, creat- er-ending whirligig... ing His Son, who in His turn I am telling the story in de- creates His human equivalent, tails because in the perfor- a version of Adam. God even- mance of the three companies, tually retired from the world, DA Clique, X-Energy Crew and which boosted aggression and Flying Steps, the greatest suc- murders ‘just for the fun of cess in my opinion is the devel- it’. The struggle between the oping of a story. I am working groups was quite spectacularly with individual street dancers, presented using break dance. witnessing every time how dif- In the end, God came back ficult it is to them to create a not to restore harmony, which storyline, building a compre- would be too naive to expect, hensive concept. With them, but to re-establish the idea of the idea of a show dominates, bipolarity: to have at least one presented as a competition of couple against the aggression, a kind between the groups and though defenceless, but stand- replacing the idea of a perfor- ing up for their love. And again mance as a presentation of an as it was in the beginning, God integral concept, storyline and was in the centre surrounded message. That is why I believe

25 that what Equilibrium showed itself, but often an end in it- was a successful beginning on self meant more for a stadium which street dances should and at times even blinding the model their versions of build- audience and the performers; ing a performance. costumes, too mashed-up cre- Flaws, of course, were ap- ating a feeling that everything parent: lighting, spectacular in available has been put to use

26 (especially in the episodes at twenty-first century to com- the palace and the creation of pare the past and the present. the amphibians, animals and It is the music that increases birds). the impression of integrity, un- The greatest achievement is like the witnessed over the last the building of a performance, decades collages of various which is made possible only af- musical pieces. ter a working opposition was And last but not least, I’d con- found (at long last) in dance gratulate the dancers of the too: classical and salon danc- three companies, DA Clique, es, modern as more balanced X-Energy Crew and Flying in terms of energy as opposed Steps and their leaders, Denis to acrobatics and the vibes of Iliev (founder of DA Clique in street dances. It is this dance Pernik, specialised in hip-hop opposition that makes the per- dances and partially, in com- formance, building the inner petitive ballroom dancing, who conflict of the work. performs with Flying Steps) and The music by composer Kalin Kalinov (leading X-Ener- Milen Apostolov has been used gy Crew, who engages in break to this end. He has achieved a dances, contemporary, acting, good balance between classi- pantomime), as well as the rest cal and electronic music of the of the choreographers, a total

27 of 12. Some 60 dancers of var- broached and that this is the ious dance styles perform on- path towards building a per- stage (34 from Germany and formance rather than a mere Europe, 25 from Bulgaria and show. These how street dances about 20 kids from the above- should pave their way onto the mentioned schools): unbeliev- stage not as spectacular per- able performers impressing formances in group concerts with their complicated dance or competitions, but rather as figures, many turns even on an opportunity for a stage ter- their heads and spectacular ritory of their own. somersaults, exuding power- A successful beginning on ful vibes that flood the stage the long road to a stage territo- and greeted by thunderous ry for street dances, to a niche applause from the full house. on theatre stages. This comes to testify once again that in hip-hop culture a spectacular somersault is still more valued that an integral concept of a p[performance; that audiences show interest in such productions; that the idea of a uniting storyline has been

28 SCREEN ARTS “OPEN-MOUTHED” BY CRISTINA GARCÍA RODERO Yosif Astrukov

Her uncompromising training in photographic film shows through along with her flair for the situation, the object and the dramatically significant in what is happening. I believe that professionals will clearly discern both the selection of shots and the will for presenting a captured unique moment. Most of the works reveal uncluttered eloquence of An open human mouth by Spanish a record though missing some photographer Cristina García explanations to shed light on the Rodero is a common thread running context of some of the pictures. through and binding together her b They exude the spellbinding power & w photographs put on display at of documentary photography, which the National Gallery, Sofia, being we are increasingly missing these the emotion, the state of mind, days. Digital technology seems to the situation in which the human entice photographers progressively beings have found themselves. more into ‘forcing’ the shot in an Such exhibitions of pictures that are attempt to draw non-existent coverage and street photography connections and emotions, which in their purest form seem to be a look at the same time prosaically rare occurrence recently in Bulgaria. routine and pretentiously charged by Many of Cristina García Rodero’s their authors. It is the documentary photographs on display date back authenticity of a shot that makes to the 1990s, when technologies our eyes riveted on it on the verge have not yet made a U-turn of being scarcely able to believe our towards processing and editing. eyes, realising though that this is all

29 real. Many of the photos were taken everything above makes even at festivals and rituals, capturing more sense and gives more clarity certain states of mind of the public as to her approach and attitude and responses of individuals. Here towards coverage and work as a is what she herself said: ‘I want to whole. Magnum Photos website speak about the human being, the offers many of her projects at dualities and contradictions of life, the http://inmotion.magnumphotos. old traditions and the new rituals, the com/essay/between-heaven-and- natural and the supernatural, religious earth. The show in Sofia provides and pagan, pain and pleasure, humans also a documentary video for the and gods, spirit and body, water and visitors by Cristina García Rodero earth, life and death.’[1] herself telling about her motivation Given that she is the sole Spanish and attitude towards photography. member of Magnum Photos Open-Mouthed runs until 23 July. (http://pro.magnumphotos.com/C. [1] http://inmotion. aspx?VP3=CMS3&VF=MAGO31_10_ magnumphotos.com/essay/ VForm&ERID=24KL53Z0AE), between-heaven-and-earth

30 31

32 ARCHITECTURE THE RETHINKING OF RELIGIOUS BELIEF IN THE MAKING OF MODERNITY, BLAGOEVGRAD, 2017 Stela Tasheva, Sasha Lozanova

University of London) is ISIH Executive Committee President. The last four conferences of the research community were held at Princeton University, New Jersey (2013); Victoria College, University of Toronto (2014); Rethymnon Campus, University of Crete (2016) and American University in Bulgaria (30 May – 1 June 2017). We are sharing here impressions The International Society for of the latest conference, held in Intellectual History (ISIH) was Blagoevgrad in our capacity as created in 1994. Traditionally, participants. ‘intellectual history’ is interpreted Obviously, the topic of the as an identification and analysis of conference, The Rethinking of ‘intellectual traditions, disciplines, Religious Belief in the Making of and practices, as they developed Modernity was as relevant as ever, over time, were inextricably especially nowadays in the light of interconnected both to one another the technological breakthroughs, and to more concrete historical political developments and the conditions.’ (ISIH, 2017). Prof. ensuing global processes, armed Michael Hunter (Birkbeck College, conflicts, regional depopulation,

33 migration, environmental issues, the early modern period (17th etc. The large number of papers through the 20th cc.) focusing on was indicative of the interest in the development of the Western the topic. They treated religion in philosophy (incl. research on the all its historical and local forms ideas of Martin Luther, Samuel as a meeting point of a number von Pufendorf, John Locke, Isaac of economic, social, cultural Newton, George Berkeley, Henri processes and developments. de Saint-Simon, Auguste Comte, as The conference was dominated well as of some of the later such as by historians, philosophers and Karl Marx, Heidegger, Benjamin, theologians. Political analysts, etc.). Most of the topics dealt with philologists, ethnologists and the development and rethinking art historians formed a smaller of Catholicism, Protestantism, and group. The participants’ research less with Orthodoxy and other profiles allowed for a very wide Abrahamic religions (incl. Judaism interdisciplinary scope. and Islam). Some of the colleagues Given the thematic scope of the presented their views of the issues event, most of the papers broached (and modernisation) of Hinduism,

34 Shinto and Buddhism. The most and Mick Deneckere, Ghent numerous were historiographic University, Belgium, Japanese works. Certain authors evaluated True Pure Land Buddhism and the and revaluated great and less Modernisation of Japan. In these popular figures and religious works we witnessed overcoming ideas in various historical and/ of the Eurocentric point of view, or contemporary contexts. To which in our opinion limits the us, being representatives of a work of part of the contemporary country with an Orthodox culture, research community. very interesting were the papers Interesting Bulgarian studies presented by Itzchak Weismann, were presented by Markus Wien, Haifa University, Israel, The Making American University in Bulgaria, of Islamic Modernity: Salafi Thought Thrown into Modernity? Re-defining between the Forefathers and the Jewish Identities in Post-Ottoman West; Anna Blijdenstein, University Bulgaria and Ewelina Drzewiecka, of Amsterdam, Netherlands, Polish Academy of Sciences, Judaism and Islam: Remaking Poland, Understanding Religion: Religion in Enlightenment Thought The Case of Bulgarian Modernity.

35 Our paper was titled Tracing Religion and Cult in the Architecture of European Totalitarian Regimes of the 20th c. Architectural research subject was not precisely typical of the disciplinary scope of the conference, but it was this perhaps that stirred up a discussion. The rest of the Bulgarian participants were in tune with the general thematic scope, dealing with philosophic and religious problematics: Iordan Avramov, Intellectual Curiosity and Religious Diversity: Henry Oldenburg and Communication of Knowledge Within and Across; (Jordan Detev, In the Footsteps of a Lost Spirituality); Petar Cholakov, Bulgarian Academy of Sciences, From Suspicion to Political Right: The Evolution of Locke’s Views on Toleration; Iva Manova, Bulgarian Academy of Sciences, Thomas Aquinas vs. Karl Marx: Neo-Thomists and Marxist-Leninists on Religion and Atheism (1950s-1960s. The course of the conference was covered by regional media since the beginning. Participants were impressed both with the very strict time limits for the presentation of the papers and discussions and the marvellous working conditions and the spring and youth air of Blagoavgrad.

36 MUSIC THE SLEEPING BEAUTY ONSTAGE IN BURGAS Rosen Metodiev

Sofia Opera and Ballet too. It is an established fact that after the 1877 premiere of Swan Lake, Tchaikovsky’s first score for ballet, was poorly received in Moscow, the composer was reluctant to write ballet music for a long time. Nothing prompted him to make another attempt until Ivan Vsevolozhsky, the Director of the Imperial Theatres in St. Petersburg, informed him Following the premiere of Swan in a letter that he was planning to Lake ballet, Burgasians had a write a libretto based on Charles chance and the pleasure to enjoy Perrault’s La Belle au bois dormant, the second of Tchaikovsky’s ‘allowing the musical fantasy to run trilogy of ballets, The Sleeping high and melodies to be written in Beauty, a gem of the world classic the spirit of Lully, Bach, Rameau, ballet heritage! and such like. In the last act there Burgas Opera House showcased needs to be a quadrille made from Marius Petipa’s choreography all of Perrault’s fairy-stories – Puss rendered by Hikmet Mehmedov. in Boots, Tom Thumb, Cinderella, It was a commendable initiative Bluebeard, and so on.’[1]. of Hikmet Mehmedov, a Tchaikovsky was enthusiastic choreographer and Director about the idea and resumed of Burgas Ballet, to stage in his work on ballet themes. the coastal city classical ballet Vsevolozhsky co-wrote the masterpieces, and brilliantly libretto of The Sleeping Beauty performed by visiting soloists of

37 with Petipa and Petipa and score with minor abridgements Tchaikovsky together specified and redactions though. For the requirements for the music. example, the emblematic of the Tchaikovsky finished the score in ballet and hugely popular Garland winter 1889 and the orchestration, Dance (Act I) has been jettisoned in August next year. for unknown reasons, but that is The Sleeping Beauty what director Hikmet Mehmedov choreographed by Marius Petipa has opted for. The moment when had its premiere in 1980, at the the Lilac Fairy meets Prince Désiré, Maryinsky Theatre in St Petersburg. who dances with the ‘imaginary’ The Sleeping Beauty has ever since Princes, is also a tad too vague. then been frequently performed Perhaps more emphases should by big ballet companies and their be sought in the scenography, light bills always feature the name of designing and directorial solution Marius Petipa as choreographer, so that to visualise what is going regardless of the minor changes on in this scene, because it is in his score. essential to the storyline, i.e. the Burgas rendition follows almost Lilac Fairy visits Prince Désiré to strictly Petipa’s choreographic conjure up a vision of the sleeping

38 Aurora in Act I and he sets out to technique. meet Aurora in the flesh onboard Emil Yordanov as Prince Désiré the Fairy’s boat made of mother- is a lovesick young man looking of-pearl. for an undiscovered love. Stage The sets by Ivan Tokadjiev partners for years now, the two create a fairytale ambience of a visiting dancers have made an palace, where characters feel like admirable team with precise in the days of the Sun King (what technique, unfailingly winning Vsevolozhsky’s intention was). Burgas audiences’ applause. It should be noticed that all the Of the fairies, Adriana-Maria costumes by designer Tsvetanka Manasieva as the Brave Fairy was Petkova-Stoinova have been made the best. Very good was also Yana exclusively for the production: Ovcharova’s (a graduate of the beautiful, offering maximum National School of Music and Stage comfort and exquisite in form, Arts, Burgas) performance as the they undoubtedly contribute to fairy of vitality. Iva Ovcharova as the building of the characters, the Little Red Riding Hood, delicate ensuring that perfumers feel at and playful (also a graduate of the ease and confident. National School of Music and Stage Princess Aurora is fascinatingly Arts, Burgas), was a nice surprise innocent, resplendent and graceful with her charming performance. in Vesa Tonova’s interpretation, Prima ballerina Galina Kalcheva, who is always is in great shape, an accomplished ballerina with standing out for impeccable magnificent skills, interprets the

39 role of the Lilac Fairy with great and the original costume solution charm and majestic presence. from St Petersburg. Daniel Tichkov impresses The production delights with a brilliant delivery of the spectators with its happy end and character of the Bluebird, with fine choreography: a symphony his confidence and stability in the of dances of Perrault’s fairytale leaps, his plasticity and very good characters; a joyful experience for stage presence. Unfortunately, Burgas audiences. the dark colour of his costume’s [1] Gasaev, Lubomir. The Ballet lower part made it impossible Book, Sofia. Bratia Sagaevi, 2006, for the audience to follow the p. 365 performer’s technique and his otherwise brilliant leaps. Besides, it was a strange solution by the costume designer to strip away the bird’s wings, unlike all the rest redactions. In my opinion, it hinders the flight, wittingly sought by both Petipa’s choreography

40 MUSIC THEATRE PARSIFAL: A BRILLIANT OPENING OF A SUCCESSFUL SEASON Stavri Angelov

symbols and rituals. Parsifal’s appeaing in Act 3 after years of wandering is reminiscent of the story of Jesus Christ’s 40 days in the wilderness as a preparation for His Coming. This symbolism is underscored also in the director’s rendition: Parsifal is carrying a spear over his shoulder like Christ walked on his way to Golgotha with the Cross on his shoulders. The company of Sofia Opera In Act 3, Kundry bathes Parsifal’s House has enjoyed over the feet, drying them with her hair recent decade an enviable new echoing Mary Magdalene, while crop of soloists and additions Gurnemanz sprinkles Parsifal’s to the repertoire of less staged head with water from the Holy works. Following the productions Spring as John the Baptist of the Ring Cycle and Tristan and baptised Jesus. Very much like Isolde1, Parsifal is the sixth of the Mary Magdalene received by Wagnerian productions in Sofia, Christ’s redeeming forgiveness, all of them staged with a titanic Parsifal absolves Kundry of her power in an unusual directorial sins against the knights. rendition by Plamen Kartaloff, A major achievement of the Director of Sofia Opera House production is the typical of Parsifal, which the author called Kartaloff’s manner visualisation a ‘a stage mystery’, was Wagner’s of music. The performance is last work, referring to religious skilfully dynamised both due

41 to the attractive sets, viewed at interesting to me. The spotlight another angle with each scene was switched of and when it was change and to the active stage turned on we saw the protagonist presence of the performers (a already seizing it. Such effects are predominantly younger cast) and working in tune with the rest of full use of the stage mechanisms the directorial allusions. Working adding the necessary variety even is also the use of laser beams in to the most static moments. the finale of Act 3, the culmination Kartaloff uses the set design and of the performance. The team of costumes to set the characters in light designer Andrej Hajdinjak a timelessness: they in fact do not and director Acad. Plamen belong to any certain historical Kartaloff are working hardly to this period, and such a directorial end. Using visible effects, they get rendition leaves it to the audiences audiences accustomed to music to complete the picture as they not that popular in this country. like it. The set and costume designers The moment when Klingsor have also searched for symbols in hurls the holy spear at Parsifal in the colour solutions. Acts 1 and 3 an attempt to injure him was very are dominated by white both in the

42 sets and costumes (Numen and is precisely what the performers Ivana Jonke; Stanka Vauda), to do. Kostadin Andreev builds the suggest spiritual purity In Act 2, red title role in depth not only vocally, is chosen for Parsifal’s seduction. but also as a stage presence. He Throughout the act, the action is is especially impressive in Act 2, unfolding on a red cushion and the when he yields not to the seducers. colour would more often than not In Act 3, he owes much of his be associated with passion and mastery to his stage presence and sex (the Fall of man). Symbolism in enlightenment, when he already Act 3 is achieved using costumes: feels himself worthy of lining up the protagonist appears clad in with the knights of the Grail. black, but Gurnemanz dons him in Gergana Rusekova as Kundry is a white robe; Parsifal is made King different in the different stages of of the Knights by Gurnemanz, who the opera: featured as a lunatic in wears a white robe. Act 1; seductive (but measuredly) I think that this is the one opera in Act 2; speechless, lucid and at of all Wagnerian works produced peace with herself in Act 3. The in Bulgaria, that calls for an singer shows the different sides active acting presence and this to her character not only by her

43 singing presence, but also in her coached by chorus master Violeta acting. Dimitrova, was very impressive Angel Hristov as Gurnemanz as a composite character of the though on the face of it inherently knights of the Grail. The plasticity wise, is the one that gives the of the members was conducive to story an impetus, rather than just their convincing stage presence. introducing into it, by sending During the 127th year of opera Parsifal away at the end of Act 1 in this country, an exciting season and accompanying him once again programme of Sofia Opera House to the castle of the Holy Grail at is in store for. Following the the finale of Act 3. success of the Ring Cycle in Füssen, Sofia Opera House orchestra, Germany featuring Bulgarian led by Ira Levin, revealed singers, the Ring is to be performed nuances rendering the Wagnerian at Moscow’s Bolshoi Theatre in score quite multilayered and May 2018. It is worth mentioning visible, making it possible for the that Wagner’s epic masterpiece audiences to relish its emotional, has not been presented in its aesthetical and timbral fineness. entirety on Bolshoi’s stage for Sofia Opera chorus, excellently over a century now.

44 45 Two Bulgarian premieres of emblematic Bulgarian works, Marin Goleminov’s dance drama Priestess of Fire and Lubomir Pipkov’s opera Yana’s Nine Brothers are on the bill, to have their world premieres in Moscow. A world premiere of Bizet’s opera Carmen is scheduled for the company’s regular tour of Japan (in autumn 2018); the Bulgarian premiere is slated for 3 November 2017. Le Corsaire (premiered on 23 November 2017) was the first ever production of the ballet at Sofia Opera House. Generally, the company of Sofia Opera and Ballet enjoys many new productions, deservedly piquing audiences’ interest. A successful season lays in store for us! 1 The production of Tristan and Isolde was also critically acclaimed in Ljubljana, Slovenia.

46 47 MUSIC PRINTED MUSIC AND SONGS OF THE DAYS OF PETER DEUNOV’S SCHOOL with the participation of Dr Stavri Angelov, Musical Theatre research group’s trainee Anelia Yaneva

scores, texts and a CD, grouped in two volumes of two boxes with independently bound 4 books and 16 supplements arranged by Deunov’s disciple Dr Philip Stoitsev, under the editorship of Dr Stavri Angelov, who contributed to the edition with some of the arrangements of Deunov’s songs for piano. Editors: Blagovest Zhekov, Nadezhda Niagolova and Angelia Vihrova. Launched in May 2017 by Zhiten Klas press, it is a collector’s edition The first book contains limited to 100 copies. It has been scores of music and songs for prepared 12 years as archival chamber orchestra and chorus records were used. Deunov’s legacy with or without soloists. Nine was provided by his disciples Dr independently bound supplements Philip Stoitsev, Dr Vergily Krustev contain the vocal scores. and Blagovest Zhekov. The second book presents the The edition contains scores, vocal musical archive of Dr Philip Stoitsev with an index of the titles in Book 1

48 and the nine supplements.

The third book offers solo arrangements, arrangements for guitar or piano accompaniment and scores for chamber orchestras in seven supplements.

The fourth book adds to the musical archive of Dr Philip Stoitsev (1907–1992) his commentary on the songs and an index of the titles in Book 3 as well as the seven supplements.

The CD contains performances of some of the arrangements by Dr Stoitsev, for orchestra with soloists.

It is available free at http://www. izgrevat.com/page_399.html.

49

50 Our writers

Anelia Yaneva Professor, DSc +359 889/80-09-16, [email protected] Department of Music Musical Theatre research group Ballet, contemporary choreography, choreographic directing, plastic theatre, tanztheater, classical dance, modern dance, hip-hop, salsa, performing arts, dance theatre, physical theatre, musical theatre, set design

Irina Genova PhD, Prof. [email protected] Department of Fine Arts New Bulgarian Art research group Art institutions and practices in Bulgaria and the Balkns in the modern age; history of prints and printing; his- tory of women artists; history of historiography of art; contemporary art practices

Iosif Astrukov PhD, Asst, Prof. [email protected] Department of Screen Arts Video Dance, screen and stage, photography

51 Kamelia Nikolova DSc, Professor +359 886742406 [email protected] Department of Drama Professor of Theatre Studies, drama historian, theatre researcher, university teach- er, and theatre critic Main areas of research interests: history of European and Bulgarian theatre; theory of performance; stage directing; contemporary theatre practices; new European drama; comparative cultural studies. She has nine books and a number of studies and articles published in over ten languages; member of the editorial boards of many specialized journals for theatre, arts and culture such as the Papers of BAS, Homo Ludens, writer of the Stage col- umn for Literaturen Vestnik weekly; Editor-in-Chief of the Annals of NATFA; Deputy Editor-in-Chief of the Art Studies Quarterly.

Rosen Metodiev Nikolov A full-time PhD student 0889960775, [email protected] Department of Music Musical Theatre research group Ballet, opera, music, theatre

Stavri Angelov PhD 0885 896 700, [email protected], stavriangelov.alle.bg Music Specialist, National Research Centre for Cultural Heritage Protection, Institute of Art Studies Children’s music for stage by Bulgarian composers; teaching music to children aged 2–7; conductorship; church music; computer notation; piano lessons and voice coaching.

52 A Platform for Arts Institute of Art Studies, BAS

An e-journal for authorial critical reviewing by researchers and experts in the areas of art and cultural studies.

The project and the follow-up to it were launched with financial support by the National Culture Fund, Ministry of Culture of the Republic of Bulgaria.

Editorial board: Prof. Kamelia Nikolova, DSc; Assoc. Prof. Andronika Martonova; Assoc. Prof. Miglena Tzenova-Nusheva; Asst. Prof. Margarita Kuyumdjieva

Proofread by Tereza Bacheva, Vania Petkova

Translated by Milena Lilova

Prepress, design by Kaloyan Koravski

Coordinator/project leader: Assoc. Prof. Miglena Tzenova-Nusheva

The Platform was designed as a specific and worthy alternative to critical reviewing concomitant with current cultural events, done usually by journalists, non-expert outsiders or admirers. What we have here are publications by researchers and experts in fine arts, music, drama, film, architecture and cultural studies (in accordance with the research areas and the accredited courses of the Institute of Art Studies), as well as critical commentaries by professionals on hot issues in the aforementioned cultural and art fields, requiring specialised response, interpretations and personal statements by authors.