Ivanka Apostolova Baskar talks to Anita Angelova about her impressions of the Varna Summer International Theatre Festival programme and the performances ‘Triptych’, ‘Cries from the Underground’, ‘The Great’ and ‘The Tempest’.

Could you present yourself briefly, which organisation do you represent and what inspired you to come again to the Varna Summer International Theatre Festival?

I am deeply grateful to have been invited here for a second time, and I gladly accepted because I was eager to experience this year’s programme. I live and work in North Macedonia and I am self-employed in the cultural sector. I work as a producer, theatre director, visual dramaturg, editor, translator, and promoter. I am the head of the Macedonian Centre of the International Theatre Institute – Producija, an organisation operating within the independent sector. At the same time, I maintain permanent collaborations with national theatres in my country. I am also very active internationally, attending festivals and showcases and writing about theatre-makers from around the world. I serve as one of the regional editors for The Theatre Times, a global platform dedicated to theatre and the performing arts. As you can imagine, I wear many hats. Sometimes multitasking is necessary simply to survive professionally, but it also helps me stay inspired and keep my spirit alive.

What are your impressions of the performances in the Showcase programme you have had the opportunity to see over the past two festival days?

First, I would like to praise the festival. This is not merely politeness; it is a fact. As always, the organisation is excellent, the hosting team is wonderful, the guests are inspiring, and the collaborators are outstanding. The selection of performances is also very strong.

Of course, everything else is ultimately a matter of taste. Today, I thoroughly enjoyed the dance performance Triptych. I must admit that I love dance and have considerable knowledge of the field. What impressed me most about this performance was its balance. My principal criterion, not only for dance but for any contemporary performance, is the audience experience. When I watch colleagues’ work, I do not approach it as a fellow practitioner, theorist, or critic. I approach it as an audience member. My central question is simple: does the performance communicate with my sense of being present here and now? If the answer is yes, then the work succeeds.

That was certainly the case with this performance. Everything felt balanced: the choreography, the dancers’ abilities, the storytelling, the set design, the lighting, and the music. The work was functional, aesthetic, ethical, creative, dynamic, and energetic all at once. The music was particularly fascinating. Some colleagues observed that the third chapter of the trilogy was choreographically so powerful that the music ceased to dominate the experience. I agree with that perception. The choreography itself carried such strength that it became the primary force on stage.

You managed to see also the one-man show Cries from the Underground.

Yes, I was also deeply impressed by it and by the extraordinary performance of the actor Yordan Rasin. Everyone has praised him, and rightly so. Through his body language, he embodied Dostoevsky’s character with remarkable precision – a manipulative, destructive, emotionally frozen figure who is nevertheless charismatic and strangely charming. Dostoevsky remains eternally relevant because these human contradictions still exist today. This underground man is both villain and victim, cruel and vulnerable, and that complexity makes him universal. Regardless of the adaptation, the character retains that power. The actor’s achievement was exceptional, and I sincerely hope he receives more international invitations and recognition.

The day before that I followed three very strong events. The first one was the documentary film Sisypheans, dedicated to several prominent Bulgarian directors from the mid-20th century (referring to the so-called “Burgas Quartet” – Yulia Ognyanova, Vili Tsankov, Leon Daniel, and Metodi Andonov – editor’s note). Before seeing it, I knew very little about this chapter of Bulgarian theatre history. I was fascinated by the archival materials, the testimonies, the memories, and the artistic vision presented. What struck me most was the story of how innovative theatre emerged outside Sofia’s cultural centre. Sometimes distance from centralised control creates space for artistic experimentation. These artists managed to transcend the limitations imposed by Socialist Realism and create something genuinely new. Although their work was eventually interrupted, their influence proved impossible to erase. They educated future generations of directors, actors, dramaturgs, and playwrights who later achieved national and international success. That is the enduring power of authentic artistic talent. It cannot simply be erased or destroyed.

The second performance The Great was not entirely my personal cup of tea, but it was undeniably effective and clearly connected with its audience. What impressed me most was the leading actress Vesela Babinova. Her performance captured extraordinary ambition, determination, and emotional complexity. Through her physical presence alone, she communicated a character striving to rule an empire while simultaneously wrestling with disappointment, loneliness, and desire.

My favourite production so far, however, was The Tempest by our Romanian colleagues from the Hungarian-speaking minority theatre. First, I was astonished by the quality of the ensemble. Every performer on stage was remarkably talented. Rather than choosing a favourite actor, I would praise the entire company as a collective. Their work was precise, inventive, and deeply collaborative. Second, the production demonstrated how classical texts can still generate fresh discoveries. Occasionally, a gifted director returns to a familiar classic play and uncovers entirely new meanings hidden within it. This production accomplished exactly that. It reminded us never to underestimate the classics – whether ancient, modern, or contemporary, because great artists can always reveal new relevance and build bridges between past and present. I particularly loved the opening sequence and Ariel’s interpretation. For me, Ariel resembled a playful Peter Pan figure – mischievous, imaginative, and helpful rather than manipulative. The metaphor of Ariel as a laundry detergent and the stage imagery involving a washing machine were both humorous and surprisingly effective. I was equally fascinated by the scenes depicting survival during the storm. They felt inventive, energetic, and collective, as though the entire company had created a theatrical ritual for enduring chaos. The performance was rich with details and ideas. In fact, there were so many layers that I feel I would need to see it again to fully appreciate everything. Production generated ideas for further ideas, and that, to me, is one of the most valuable qualities a work of art can possess. I am now very curious about the remaining days of the festival and the experiences that await us.

Is there anything else you would like to mention?

Yes – the set designs exhibition on the occasion of the 80th anniversary of the founding of the scenography specialty at the National Art Academy in Sofia. I would like to praise the festival’s parallel programme, especially the exhibition featuring costume and set design concepts created by students and their professors. Some of these works displayed such maturity and artistic vision that their creators could immediately begin working in professional European theatres and opera houses. The quality of the scenographic and costume-design concepts is remarkable. Their imagination, precision, and visual intelligence are truly inspiring. Perhaps I am particularly sensitive to this because my own work in theatre originates from visual dramaturgy, set design, and costume design. I have a special weakness for strong scenographic and costume concepts, and this exhibition offered many memorable examples.