In the theater you are constantly in relationship with the complete lack of utilitarian meaning or its powerlessness to change the world. On the other hand, however, you have relationships with the awareness that he cannot change the world, but he can change one person, and this is already a very big step. The director and director of the National Theater of Toulouse Galin Stoev gradually realizes this power, this power, that the stage possesses. This way he gets acquainted with the responsibility for it.
“In Bulgaria, power is first of all associated with abuse and then with responsibility. But this happens in immature societies, in which politicians, too, think that they can turn a blind eye while being politicians, and that’s the end of it. their whole horizon. That I find profoundly tragic. I’ve always thought that politics—that’s why I can’t do politics—is for people who are very smart, very thoughtful, who have ideals and a far-set goal, and it’s about doing well to the whole society, not to a certain group. So yes, the theater at least has the power and the power, the authority to talk about these things, and as it says in the Bible: whoever heard heard,” he said in “Artefir”.
For six months, Galin Stoev has felt powerless because of what is happening in Ukraine. According to him, he is currently reigning dehumanization, and it kills creativity. However, he is saved by the fact that he can escape into rehearsals and talk about these things in his own way.
“The human being has a superpower to alchemize things and I think creativity is that kind of alchemizing things, which we cannot deal with on other terrain. Then the theater should try to turn this anger or this impotence into something constructive. Or to confront the person with his own fears, escapes and attempts, including everyday ones – to run away from it or decide that it does not concern you. But today we are in such a connected world that it can’t help but affect you, ie. there is nowhere to run,” Stoev adds.
According to him, nowadays it is not possible and the so-called internal emigration, invented by the totalitarian regime, by which some people are locked in a space where censorship cannot intervene.
“There’s nowhere to run, that’s the bad news. The good news is that since there’s nowhere to run, we have to stay and let everyone do their job – whoever can,” he claims.
What is possible today is to face all the postponed issues that have been swept under the carpet. The carpet is already a mountain, and what we want to leave behind as a world is a task of increased difficulty, but not an insurmountable one.
However, how do you want a theater not in France, but here – in our country, where evolution is slowly taking place? What are the reflections of the director and the responsibilities of the director? What self-confidence is needed to lead a non-Bulgarian theater? In what freedom can young talents live on and off the stage?
Galin Stoev answers all these and other questions in the sound file. Toncho, as he did within the framework of “Apolonia” 2022, where he told what the “Price of success” is in the annual meetings of popular and successful Bulgarian artists with their audience and where he held a master class in acting and directing.