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BECKETT PROGRAM “KRAPP’S LAST TAPE. NOT I.” Samuel Beckett
Theatre Laboratory SFUMATO
Director: Ivan Dobchev
Composer: Assen Avramov
Scenography: Nikola Toromanov
Costumes: Suzy Radichkova
Actors: Malin Krastev, Neda Spasova, Stanislav Ganchev
Translated by Antonia Parcheva
Stage adaptation: Ivan Dobchev
Scenography: Nikola Toromanov and Ivan Dobchev
The decision is based on a scenographic idea by Ivan Dobchev, Boris Dalchev and Mihaela Dobreva.
Costumes: Suzy Radichkova
Composer: Asen Avramov
Malin Krastev – Krap at 69 years old.
Voice - Stanislav Ganchev, 39-year-old Krap.
Neda Spasova – Mouth
Nothing is more grotesque than unhappiness.
Nothing is more real than your own You.
Nothing is more essential than the inessential.
WE ARE NOT IN EXILE, WE ARE ON A MISSION!
"Through the WORDS he had gone to the edge of something straining towards Nothingness. Well, it finally reached that limit. To introduce the WORDS into Death or the Death into the WORDS - He already knows how it is. ONLY HE... It all begins in the first lines of "Moloy" when a stalker, probably Molloy himself, narrating in the first person, hidden on a height behind a rock , observes two people who meet on the way out of town. An unforgettable image. Coming from nowhere, going nowhere with their clownish gait, the two Beckett walkers feel watched, like Vladimir, like Winnie and Krapp, and that mad Mouth in “Not I”, and everyone else. There is something to be seen and said, poorly seen, poorly spoken. TO SEE THE SEEING, EYES INTO EYES. TO SAY WHAT IS SAID, WORDS WITHIN WORDS; on the day when the writer realizes that he must advance steadily in the direction - POORLY SEEN, EVEN WORSE SPOKEN - our Proust, our Joyce, our Céline, born in the second half of the century. But also our Dante, our Pascal, our Shakespeare."
Alfred Simon
I want to dedicate that interpretation of mine on Beckett to the memory of two of my dear friends -
Krikor Azarian and Naum Shopov, who in the sunset of the so-called "mature socialist realism" had dared to stage "Krapp’s Last Tape". An unforgettable show! I have no words to describe the effect it had on all our theatrical thinking at the time. I very much wish that our play would produce this effect on the present state of the theatre.
Ivan Dobchev
Director: Ivan Dobchev
Composer: Assen Avramov
Scenography: Nikola Toromanov
Costumes: Suzy Radichkova
Actors: Malin Krastev, Neda Spasova, Stanislav Ganchev
Translated by Antonia Parcheva
Stage adaptation: Ivan Dobchev
Scenography: Nikola Toromanov and Ivan Dobchev
The decision is based on a scenographic idea by Ivan Dobchev, Boris Dalchev and Mihaela Dobreva.
Costumes: Suzy Radichkova
Composer: Asen Avramov
Malin Krastev – Krap at 69 years old.
Voice - Stanislav Ganchev, 39-year-old Krap.
Neda Spasova – Mouth
Nothing is more grotesque than unhappiness.
Nothing is more real than your own You.
Nothing is more essential than the inessential.
WE ARE NOT IN EXILE, WE ARE ON A MISSION!
"Through the WORDS he had gone to the edge of something straining towards Nothingness. Well, it finally reached that limit. To introduce the WORDS into Death or the Death into the WORDS - He already knows how it is. ONLY HE... It all begins in the first lines of "Moloy" when a stalker, probably Molloy himself, narrating in the first person, hidden on a height behind a rock , observes two people who meet on the way out of town. An unforgettable image. Coming from nowhere, going nowhere with their clownish gait, the two Beckett walkers feel watched, like Vladimir, like Winnie and Krapp, and that mad Mouth in “Not I”, and everyone else. There is something to be seen and said, poorly seen, poorly spoken. TO SEE THE SEEING, EYES INTO EYES. TO SAY WHAT IS SAID, WORDS WITHIN WORDS; on the day when the writer realizes that he must advance steadily in the direction - POORLY SEEN, EVEN WORSE SPOKEN - our Proust, our Joyce, our Céline, born in the second half of the century. But also our Dante, our Pascal, our Shakespeare."
Alfred Simon
I want to dedicate that interpretation of mine on Beckett to the memory of two of my dear friends -
Krikor Azarian and Naum Shopov, who in the sunset of the so-called "mature socialist realism" had dared to stage "Krapp’s Last Tape". An unforgettable show! I have no words to describe the effect it had on all our theatrical thinking at the time. I very much wish that our play would produce this effect on the present state of the theatre.
Ivan Dobchev