In the “Ivan Radoev” Drama and Puppet Theater, table rehearsals of “The Man-Eater” by Ivan Radoev have begun, the cultural institution announced.
Drama and Puppet Theater “Ivan Radoev” dedicates this performance to the 30th anniversary of the death of the inimitable playwright and poet Ivan Radoev.
The legendary play “The Man-Eater”, which has become an eternal emblem of the Bulgarian theater, will once again come to life on the Pleven stage at the end of January 2024.
At the first rehearsal, thirteen happy “little men” gathered at a table to blame whoever they could for all their troubles on the state and not only because “The people are nervous, comrades!”.
“The whole story takes place in the small galaxy of a nursing home… here the chairs are tired, the table is tired. The TV is also tired and for two years has not maintained any connections with political commentators” – isn’t that enough for a total and absurd comedy that will look us straight in the eyes from the stage of the Pleven Theater.
Director – Orhan Tair; set designer – Larisa Nagorska; music – Asen Antonov
Participants: Bistra Okereke, Valentin Vassilev, Gennadiy Nikolov, Doriana Galabova, Ekaterina Stoyanova, Irena Nencheva, Krasimira Kuzmanova, Lenko Gurkov, Marian Stefanov, Nina Goranovski, Orhan Tair, Petyo Krastev
Bistra Okereke – the first professional actress of African origin in Bulgaria – was specially cast for the role of the Man-Eater.
“My Man-Eater doesn’t need to be modernized, we deliberately modernize it. After almost 50 years, it is relevant again, so it will be in the time in which it was created. And the big topic that excites me, says the director Orhan Tair, is that both then and today, old people, due to the compulsion of the time we live in, remain alone, far from their children, from their relatives.
If in the last 30 years this satirical comedy, weftbut the tragic story of the socialist man was perceived only as a critique of totalitarianism, the Pleven theater performance under the direction of Orhan Tair aims to go beyond these frameworks and reveal the genius of Ivan Radoev’s text, which made it universal for the Bulgarian situation.
That’s why in this comedy-filled and cheerful performance of ours about some well-known residents of a nursing home,
“when the migration flowed and the young fled,”
“somewhere at the end of the world, far from civilization, automation, neurosis and modern sterility”,
we will examine in an unexpected way the topics that inexorably haunt our modern times – about man and power, about the mechanisms through which a society functions, forever accompanied by “journalists, football players, optimists, careerists…”, and about that abandoned little person who always clings to life , who will exclaim – “Laughing, the old man sneers at his future.” And can we laugh at death? We can, writes Ivan Radoev, but not in the eyes, because she is blind!”
At the end of January, expect an ultimate comedy that will look you straight in the eye. Thirteen happy little people take part in it, who will blame the state for all their troubles, and not only because “The people are nervous, comrades!”.
And if you are not convinced of the eternal relevance of Ivan Radoev’s text, here is the infamous “speech” of the mute Iota:
“Careers! Under the road and over the road! Under the desk and behind the desk! They crawl, the snails crawl and climb the government branches. And the state writes them fables to reeducate them. They creep and sneer in their minds, and their trail reeks of abomination. The snail climbed it to the top of the branch, spread its wings and flew over the establishment. And the establishment trembles like a rabbit, ears pricked and gnaws its carrot. He is not trembling for his life, but for a carrot… They are stealing from this country! Whose country is this?… Whose country is this?… Is it not the neighbor’s?”