Куклено-театралното представление в България след 2000 година: текст – представление – публика
Puppetry theatrical productions in Bulgaria after 2000: Text-performance-audiences

Summary/Abstract: The article deals with contemporary puppetry theatre stage practices in the light of the strategies of the interplay between three theatrical phenomena: a dramatic work/text, performance and its reception. What are the different modes in-between the extreme of the ‘theatre of a text’, where a performance is a visualisation of a play/text and the opposite extreme, which may be defined as a ‘theatre beyond text’? At the turn of this millennium, Bulgarian puppetry theatre stage practices evinced classical and innovative quests of both the generations with established creative activities and new creative drives forming together the present situation in Bulgaria. Following the turn of the twenty-first century, the potential of puppetry theatre occurs in various aesthetical and idea-driven pursuits, which could be generally classed in three groups: two of those are defined as belonging to the classical puppetry theatre––its homogenous and heterogeneous forms––and the third is a more experimental new use of nonliving matter onstage such as the theatre of material. The topic suggests a focus on the quests for artistic inspiration and stage practices of Slavcho Malenov, Peter Pashov, Bonio Lungov, Katia Petrova, Teddy Moscov and those debuting after 2000: Veselka Kuncheva, Mila Kolarova, Bozhidar Alexandrov, Magdalena Miteva, Peter Pashov Jr and Milena Milanova through an analysis of their creative laboratories, theatrical expressiveness, visual stage solutions and their reflection on the text-performancereception strategy.

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