Theatre researcher and critic Savas Patsalidis from Greece was a guest of the “Showcase” programme, and at the end of the festival he shared his impressions with Jacqline Dobreva.

Mr. Patsalidis, how many years have you been attending the Varna Summer International Theatre Festival, and what is your connection to it?

Varna is one of my favourite cities. I come almost every year and closely follow the festival. I know its organizers – they are good friends of mine, and we often discuss together the programme and the selection of performances. Every time I arrive in Varna, I feel at home. I enjoy the atmosphere of the city – the sea, the weather, the people, the food, and of course, the festival itself. I usually spend about five or six days here, watch almost everything, and leave filled with inspiration and wonderful impressions.

And what are your impressions of this year’s edition?

Each year feels different – it depends on the programme and the selection of the shows. But I dare to say I have never left Varna disappointed. Of course, as with any festival, there are performances you like more and others less. It’s rare to enjoy everything equally. Some productions touch you deeply, make you think, while others you forget quickly. This year was the same.

There were performances that impressed me greatly, and I plan to write about them because, in addition to everything else, I am also a theatre critic. I’m the editor-in-chief of the online journal of the International Association of Theatre Critics – Critical Stages. Once I return home, I will prepare a long piece about the city and the festival. I really appreciated the emotional diversity provoked by the different productions. Some were very powerful, others – not as memorable.

For example, Medea was a wonderful production. The actress in the lead role, Radina Kardzhilova from the Ivan Vazov National Theatre, was magnificent. Extremely inspiring – with energy, passion, and an excellent connection with the audience. It’s a heavy role – to portray a woman who kills her own children. And she did an excellent job.

I also really enjoyed Oedipus Rex from Craiova. Interestingly, both productions were directed by Declan Donnellan – which gave them a unified concept and a sense of cohesion. The collaboration, with both shows touring together, is a very smart decision. Such partnerships lead to strong results.

I also liked Mother Courage and Her Children by director Stoyan Radev. I really appreciated the humour, irony, and energy of the actress Albena Pavlova playing Mother Courage. She was at the centre of everything – the whole show revolved around her – she was like a magnet. Exceptionally passionate and charismatic. I especially liked that the political themes were conveyed through irony and humour, rather than direct messages. I don’t like performances that shout their political stance at me. I prefer ones that give me time to think. And this festival gave me a lot to reflect on.

How do you perceive the thematic focus on the tragic in this year’s performances?

All tragedies are related to human limits – how far we can go, what happens when we cross the red line. Tragedy always touches on moments when something exceeds the ordinary, the normal. It explores what happens when something extreme occurs – the tragedy of war, of human weakness. Take Medea, for example – it’s hard to comprehend how a mother could kill her children. Or Oedipus – how someone could marry his own mother. These are limits beyond reason. But they are also interpreted in today’s context.

What are your thoughts on the documentary productions in the program? Like 96% or Anna, The Incorrigible?

Honestly, I’m not a big fan of documentary theatre. I attend such performances, but I rarely enjoy them. Unless they are very well researched and staged with imagination. Most documentary plays just present facts – newspapers, documents – but that’s not enough. They need to be delivered intelligently and artistically to hold the audience’s attention and offer a new perspective. That rarely happens. But still, it’s good that such forms exist.

If you had to choose the three most powerful performances?

If I had to pick the top three performances of the festival, I would rank them as follows: The Ploughman and Death – a beautiful German poem from the 14th century. Deeply philosophical. The production used technology to make us wonder what’s real and what’s not – is it an actor or a projection? That’s the very idea of death – disappearance. The technology visualized it brilliantly. Silviu Purcărete created a great production. Next in the ranking are Medea and Oedipus Rex. In fourth place – Mother Courage and Her Children. I can even think of a fifth one, which speaks well for the festival. In conclusion, I can say that once again the festival presented a strong selection and was a success. I hope to return next year. I always have a great time here, and it’s a pleasure to write about the festival.