Bulgarians contribute to the prestige world culture

Galin Stoev (Bulgaria and Belgium)
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Galin Stoev (born in 1969 in Varna, Bulgaria) graduated from the National Academy of Theatre and Film Arts in Sofia,  
where he as actor and director in 1991.

Has has been the recipient of a number of grants abroad including a 2001/2002 residency at the Akademie Schloss Solitude in
Stuttgart; a Soros Fellowship to the International Theatre Academy in Bochum, Germany for a directing course in 1999; an
International Workshop Festival Grant in 1998 to attend a Workshop in KABUKI in London; British Council fellowships for Theatre
Directing and Management in Sheffield, postgraduate studies in London, the First European Directors’ School at the West
Yorkshire Playhouse in Leeds where he worked with Peter Sellars and Robert Sturua; a Royal National Theatre Grant for
“Seeding a Network” - A practical exchange program of the Royal National Theatre London (1995).

In 1994 he directed his first production for the National Theatre in Sofia and since then he has collaborated with them regularly
directing productions that include Arcadia by Tom Stoppard in 2001 (Awarded Best Production Askeer), The Runaway Plane by
Kamen Doney in 2000 (Nominated for Best Director - Bulgarian Theatre Guild & Best Director Askeer), The Caucasian Chalk
Circle by Bertolt Brecht in 1998 and Madame de Sade by Yukio Mishima in 1997.

He has settled in Brussels where he gathered a group of French, Belgium and Swiss actors, met during a master-class, and
created his own company,
Fingerprint.

His meeting with the young Russian author Ivan Viripaev was another turning point. He has staged a number of the latter’s plays:
The Dreams (2002), Oxygen and Genesis number 2. Galin Stoev belongs to a new theatrical generation, whose work comes out
of the transformations in the Eastern bloc whose notoriety is post 2000.

The hybrid nature of the text “on the limits of language and narration, where dialogue and discussions are infused with a
profound political meaning” is for Ivan Viripaev the opportunity to evoke another form of reality and dictatorship: a form that is
marked by relativity and where man loses his references. The Russian playwright made his name by taking what might be
described as “a journey to the heart of a modern deconstructed conscience”, which he began in his native town Irkust in Siberia.
He started out there as an actor before forming his first independent company Play Area.
The success of his first play, The Dreams, and its unorthodox intention, took him to Moscow where he joined the New and Social
Play Centre Teatr. doc, an experimental creative space for young artists. Playwright, scriptwriter and director, Ivan Viripaev built on
his early reputation, notably through Viktor Ryjakov’s production of his script, Oxygen, also staged by Galin Stoev in 2004. Among
his more recent works is a feature film, Euphoria, and July, a play staged in Moscow in 2006.

In Genèse n°2 (Genesis number 2), there is God first and foremost, Lot’s wife and the prophet John: three characters. There are
others present too: the text and the two authors, Ivan Viripaev – an outstanding personality of Russian theatre – and Antonina
Velikanova – a real or imaginary figure, a psychiatric patient suffering from schizophrenia and who believes she is Lot’s wife. Ivan
Viripaev writes the way a musician composes a partition. He carefully juxtaposes the fragments of the story – like the reflection of
a shattered identity, and, more generally speaking, of a contemporary subject. To give form to the text received from the young
woman, he inserts part of their correspondence as well as comical songs attributed to the Prophet John.
How to depart from reality? The playwright’s question returns like the time-worn refrain of a song. Galin Stoev, another figure of
this new theatrical approach, reflects this obsession in the way he directs. The Bulgarian director, who has been living in
Brussels for the past two years, has a close working relationship with the Siberian author and he has staged a number of his
plays. Genèse n°2 adopts different styles: dramatic, documentary, epistolary and poetic, but also different temporalities: return to
myths and the spoken word, with a content firmly anchored in reality.
With his mirrored and reflected staging, his three actors and three musicians, Galin Stoev orchestrates this polyphonic writing
within a setting that reflects the vulnerability of beings and the musicality of language, the prophetic tonality, its quest for meaning,
from belief to nihilism, while embracing all the nuances of his public address.

About his recent success also see text in Bulgarian (
.pdf).

External links:
http://theatre-russe.info/pages/whoswho/stoev01.htm
http://www.theatre.lv/index.php?&550&PHPSESSID=e1ed9b3817e15b63776855c222daf08b
http://www.festival-avignon.com/index.php?lg=en&pid=11737304904571&r=29
http://www.iht.com/articles/2007/08/02/arts/dupont.php?page=2 (.pdf 1, 2)
Genesis 2