Handan Salta, theatre critic and co-founder of TheatreIST in Istanbul, shares impressions of the festival’s programme.
Handan, you are a guest of the festival from Istanbul. Could you tell us about your work there?
I am a retired academic, currently writing theatre reviews, translating plays, and organizing a showcase for independent theatre in Istanbul. This year is our third edition, and despite significant financial challenges, we persist. Each time, we improve. And we plant seeds of hope.
What are your impressions of the festival this year? How would you comment on the performances from the programme?
I arrived in Varna on 6 June and the first show I watched was In the Dark —a play written and performed brilliantly by the Bulgarian actress Albena Stavreva. The story was profoundly touching, though parts were hard for me to follow due to the heavy dialect of the text. Still, it moved me deeply because its theme is universal—this story could unfold anywhere. I’d love to translate it into Turkish and see it staged in one of our theatres.
The performance As You Like It offered a refreshing break from the heavy, tragic topics. We were swept into Shakespeare’s dreamy atmosphere—a brief escape from tragedy. Yes, it felt a bit long, but perhaps that’s exactly what we needed.
Yesterday, I saw Henrik Ibsen’s Public Enemy. I’ve watched many versions of this play, but this one left me somewhat disappointed. The honest doctor, the protagonist, ultimately agrees to compromise his principles. This might reflect today’s reality, but it left me unsatisfied. Additionally, Katherine’s father was played by a very young actor, which made it hard for me to believe in the character. I expected some rationale for this casting choice, but none was apparent.
Another production that left a strong impression on me was Anna the Incorrigible. It’s a powerful and moving story. I had heard of journalist Anna Politkovskaya before, but this play made me reflect on the theatre’s mission—when journalists cannot speak the truth, that responsibility falls to theatre artists. They must tell these stories and honor these people. It’s a striking, impactful way to convey truth. The story was heartbreaking, made even more painful by its reality. It offers no hope, instead deepening pessimism about the future—not only in Russia but in many countries. I’m still under its influence. Bringing real life to the stage—this is vital.
Nina Nikolina’s concert was a true delight—for the ears. And its finale was a feast for the eyes. Seeing people dance together in the garden of the Archaeological Museum was joyful, a pleasure, and art at its finest. I had the chance to hear various Bulgarian songs, which I thoroughly enjoyed.
My favorite performance so far is The Ploughman and Death. I haven’t seen other works by Silviu Purcărete, but I was in awe of his direction. A friend here described it as “dramaturgy of light” or “technological dramaturgy”—and it was truly powerful. It perfectly aligned with the story’s theme: that people, objects, and life itself are fleeting, lasting only a moment. This idea was brilliantly highlighted through stage effects and technology. I was utterly captivated and loved every minute of this production.
96% is another courageous performance, much like Anna The Incorrigible. It’s also documentary theatre, rooted in real stories. I want to applaud Prodromos and his team for their bravery in telling their fellow citizens, “This is what we did”. Unlike Anna the Incorrigible, which addresses another country, this production speaks directly to the people of Thessaloniki, the troupe’s hometown. The history of Jewish properties there is hard to confront. And now, the descendants of those involved are complicit in another injustice—against Palestinians.
I appreciated the subtle gesture of placing a slice of watermelon at the end—a symbol of the Palestinian flag. It may seem small, almost tentative, but the performance itself is a bold act of truth-telling. The specific truth doesn’t matter—what matters is that it’s often painful. And we must hear these truths, not just theatre audiences but everyone. Theatregoers tend to empathize with victims, but these stories need to reach a wider audience.
As for my stay, I’m having a fantastic time. I love the city and its atmosphere. It’s small but has everything cultural tourism requires—theatre, opera, charming attractions, and beautiful beaches.
Jacqueline Dobreva worked on the material