After the excesses and clashes outside the National Theater on Thursday, the John Malkovich-directed production of Guns and the Man played to a full house and without any tension on Friday night.
The police and the prosecutor’s office remained silent. So far, no arrests have been made for the attacks. There are no accused, writes bTV.
And actors who participate in Bernard Shaw‘s play said that there is not a single word that humiliates the Bulgarians and the Bulgarian soldiers.
“In this play, there is not a single word that humiliates the honor and dignity of the Bulgarian soldier, the honor and memory of the Bulgarian soldier, not a single word that humiliates the Bulgarian woman. Not a single one,” said actor Stoyan Pepelanov.
The actors also said that they are confused by what is happening and do not understand why they are being attacked for their work. Nencho Kostov is convinced that it will hardly ever be known who the directors of the protest are.
The play “The Weapons and the Man” remains in the theater’s program.
On Thursday, protesters gathered in front of the “Ivan Vazov” National Theater because of the premiere of the play ”Guns and the Man”, staged by the world director and actor John Malkovich. Protesters began to gather before 5 p.m., and later blocked the entrance to the theater. The director of the theater, Vasil Vasilev, came out of the building and stood in front of the protesters, after which they pounced on him and deliberately pushed him. They also released smoke in front of the entrance, where there were already people with tickets who wanted to watch the premiere. A large number of them gathered at the side of the entrance of the theater and passed through there to enter for the play. The director of the theater announced that he would refund the money to people who bought tickets and that the John Malkovich production would be played only for journalists.
Interview Between Time.news Editor and Theater Expert
Time.news Editor (TNE): Welcome! Thank you for joining us today. As you know, the recent production of Guns and the Man, directed by John Malkovich, faced quite a stir outside the National Theater. What are your initial thoughts on the situation?
Theater Expert (TE): Thank you for having me! It’s quite a fascinating topic. The clash over Malkovich’s production highlights the complex relationship between theater and society, especially in a country like Bulgaria, rich in history and cultural pride. The protests seem to stem from a misunderstanding of the play’s intentions.
TNE: That’s an interesting point. Many protesters believed that the play disrespected Bulgarian soldiers. However, actors have stated that the script does not contain any words that could humiliate them. How do you interpret this dichotomy?
TE: It’s essential to remember that Guns and the Man is a satirical examination of war, identity, and human folly. The actors’ insistence that there isn’t anything derogatory toward the Bulgarian soldier suggests that the play is meant to provoke thought rather than disrespect. It seems people are reacting not just to the content but to their own emotional and national sensitivities.
TNE: Exactly. There is a delicate balance when it comes to addressing national pride in the arts. Given the lack of police response and arrests, what do you think this says about the cultural climate in Bulgaria right now?
TE: The silence from authorities can be interpreted in different ways. It might indicate an acknowledgment of the complexities involved in artistic expression—it’s a way of allowing the discourse to unfold without further inflaming tensions. However, it can also highlight a level of discomfort or indecision among officials about how to handle cultural protests, especially when they intersect with national identity.
TNE: It’s certainly a tightrope act. How can theater navigate these sensitivities without alienating portions of its audience?
TE: Open dialogue is key. Producers and directors need to engage with their communities before and during a run, perhaps even hosting discussions surrounding the themes of their works. This can demystify intentions and allow perspectives to coalesce rather than clash. When audiences feel included in the conversation, it lessens the likelihood of misunderstandings and hostility.
TNE: That makes a lot of sense. Looking specifically at the audience reaction to the production following the protests, what does that indicate about the resilience of theater as an art form in this context?
TE: The full house on Friday night is a beautiful testament to the resilience of theater. It suggests that while there may be tensions, there is also a great hunger for artistic expression—people are willing to engage with challenging content. This resilience suggests that people value the role of theater as a space for reflection and discussion, even amidst controversy.
TNE: It’s inspiring to see audiences come together in support of the arts. As we wrap up, what do you foresee for the future of theater in Bulgaria in light of this recent incident?
TE: I believe we’ll see more dynamic discussions around art and identity. The key will be whether artists can maintain their creative integrity while also being locally attuned. Hopefully, this moment will galvanize artists and audiences alike to embrace the complexities of their cultural narratives more openly.
TNE: Thank you for your insights! It’s clear that the intersection of art and society will continue to be a vital conversation in Bulgaria and beyond. We appreciate you taking the time to share your thoughts with us.
TE: Thank you for having me! It’s crucial to keep these discussions alive.