National Theatre ‘Ivan Vazov’, Sofia, premiere 17th January 2025
If we assume that chaos in the world has already occurred, then this “chaotic” performance seems like both a cry for help and a call to wake up and take action before it’s too late.
Because the world could end, and the reasons for that turn out to be numerous. This is how the performance begins—by listing various hypotheses about this end of the world, as well as possibilities for salvation. This sudden alternation between hopelessness and hope casts some light on the otherwise pessimistic landscape of the piece.
Given the negation in the title, the stories in the show by author Stefan Ivanov categorically contrast with everything human and moral. Fragmentary in structure, Inhuman reflects the reality that surrounds us today. At the core of its seemingly unconnected scenes lies violence—verbal, physical, psychological, and intercultural. This violence, which has repeated itself over the years takes different forms but serves as the primary motor of the narrative. Even though it is not always clearly delineated, the audience can still feel its presence. Through historical facts and elements of documentary theatre, the author not only reminds us that violence has always been a part of human history but also raises a crucial question: why, despite civilization’s proclaimed progress, does violence continue to reproduce itself in all its forms?
The stage design by Elena Tsonkova and Denitsa Nikolova, is minimalist and contributes with its ostentatious and declamatory style. A white wall, like a blank sheet, gradually fills with various quotes, words, and learned but forgotten phrases that resonate with the pressing issues of our daily lives. This expression of social criticism by “marginalized actors” is a strong directorial choice by Lyubomir Kolaksazov, particularly given the combination of texts he has to work with—prose, poetry, Bulgarian history, and quotes from famous figures.
The use of puppetry techniques in certain scenes enhances the grotesque effect and underscores the absurdity of the modern world. An “encounter” between Donald Trump and Vladimir Putin is particularly striking, represented through masks that engage in arm wrestling and even a thumb war—a caricatured exaggeration of the struggle for power and dominance.
Another important stage element is an inflatable human figure, which quite literally absorbs the “blows of fate” in the cycle of violence. The doll is repeatedly dismantled and reassembled, symbolizing both the resilience of human existence and its perpetual struggle for survival. This metaphor is not only visually impactful but also emblematic of the current state of our disintegrating humanity.
Following the principle of “theatre within theatre,” the actors, stepping into different roles, bring the emotional weight of current events closer to the audience and skilfully juggle humour, irony, and minimalist choreographic movements by choreographer Kalina Georgieva. Movement is not just a backdrop but an independent language that reinforces the text and creates emotional pulses in the rhythm of the production.
Inhuman, Ivan Vazov National Theatre
Throughout the performance, the actors actively blur the boundaries between stage and audience, seamlessly transitioning from one character to another with remarkable fluidity. Their energy and inner intensity are strikingly palpable – each actor is vivid in their own way and has a dynamic stage presence.
Another notable choice is how the cast playfully embody the contrasts in society, capturing the ever-changing dynamics between unity and division. Their performances highlight how collective action and shared struggles can unite people, but deep-rooted conflicts and ideological clashes continue to divide them. Violence emerges not only as a consequence, but also as a force that continually alters these divisions, fuelling cycles of power and oppression. Through this interaction, the actors vividly illustrate how societal tensions manifest themselves, prompting the audience to question whether reconciliation is possible or whether conflict is an inevitable constant.
And without offering clear answers or solutions, the ending hints at a world that could be possible. The sense of optimism lingers, subtly imprinting itself in the viewer’s mind, leaving space for contemplation on what might yet unfold.
The recognizable stories and sensitive themes of aggression and hatred, which are prevalent not only in Bulgaria but globally, easily resonate with the audience, and the text quickly provokes bitter laughter. However, the production could definitely be improved, particularly in terms of rhythm and nuance in the text. Due to its highly declamatory nature, the text presents all its elements with equal intensity, making it difficult to create contrast or variation.
In addition, the performance does not allow sufficient time for reflection—moments where the audience can absorb the weight of what has been said and fully process its emotional impact. The intense rhythm and dense language create a constant flow of information that is difficult to digest in real-time. Introducing more deliberate pauses or shifts in tempo would allow the text’s meaning to resonate more profoundly.
The project has been realized as part of the “Apostol Karamitev” program—an initiative that introduces audiences to new and unfamiliar authors, exploring different theatrical forms and aesthetics within the framework of the National Theatre. And despite some issues in presentation, Inhuman brings innovation and diversity to the theatre’s repertoire.
Credits:
Director: Lyubomir Kolaksazov//Dramaturg: Stefan Ivanov//Set and Costume Design: Elena Tsonkova, Denitsa Nikolova//Composer: Hristo Namliev//Choreographer: Kalina Georgieva
Cast: Slavena Kerezova, Elena Ivanova, Martin Dimitrov, Elena Decheva, Angela Kaneva, Ilyan Nonov
For tickets and further information, visit: nationaltheatre,bg
Further reading: review of Arms and the Man at Ivan Vazov National Theatre
Ana Bateva is a theatre director and manager of SPAM Studios in Bulgaria.
She has written five children’s stories, published in Macedonia and three plays, two of which have been staged in Bulgaria. She has participated in over 40 theatre festivals and has won more than 20 awards."
