During the last decades, in the world theatre outlined an interesting concept – remarkable film plots from the world classic of cinema to be moved on the theatre stage in different stage versions. In Bulgaria some theatres tried to make a dramatization of some world films. . .
And here it is, now for the first time a Bulgarian film moves on the stage of the Sofia Opera and Ballet. A strong artistic concept, an idea of the stage director Acad. Plamen Kartaloff, which deserves support and acclamation, asserts Prof. Bozhidar Manov and he continues:
“My Father the Painter” appeared in two versions still in the 70s and the 80s of the 20. century in a TV and a film variant, but it remained as if lonely as musical in Bulgarian cinema. And years in a row after that it was carrying its track without having a lot of followers…
It is so much happier that now the team of the Sofia Opera and Ballet and Acad. Kartaloff’s artistic concept move on the stage one live, warm, philanthropic spectacle, which besides that carries the features of a very complex artistic organization. I have in mind that this realization is not easy at all. The organization of the main team of actors, the vocal performances, the music etudes, the dance etudes and I would like to point out the overall stage realization in a very impressive scenographic form. This main frame, which outlines the whole film screen in fact divides the stage space into two territories and this way the movement of the narrative and the plot passes from the stage platform into the space of the conditional film screen, then from the screen on the stage. That is, this pass-over between the film plot and its stage realization is a specific artistic element, which carries the style, carries the energy of the spectacle.
I even think that the film director Stefan Dimitrov, God rest his soul, if he was alive, he would congratulate the director of this stage spectacle Acad. Plamen Kartaloff for the very good given a meaning and organically transferred on the stage concept of the film musical.
In short, I maintain that this solution is a courageous, conscious, strong creative move and I wish the spectacle a long stage life. In the accompanying programme I see that after the premiere on 8 May it is planned the spectacle to be performed up to 31 December, when, however, is the plot time of the spectacle, the New Year’s Night, and why just up to then?! This spectacle can continue during the next season too, and to be a good artistic idea, to offer the audience a new artistic look, which in our stage practice with a Bulgarian film, moved on the stage, has never happened so far. It is so much happier that now this is done. Unfortunately, exactly in the time of pandemic situation and this has charged with additional difficulties the team of the Sofia Opera and Ballet. But it was so better outlined that the good result is pleasing and deserves praise.
I wish good luck to the spectacle and to all participants and performers in it and let in the next seasons the Sofia Opera and Ballet discover other concepts for development of this stage form too.
I think that it will find the way towards the spectators’ hearts.