Papers by Kamelia Nikolova
Kamelia Nikolova, Oct 15, 2023
The study examines two main trends in the European theatre during the turbulent time of renewal a... more The study examines two main trends in the European theatre during the turbulent time of renewal and aesthetic revolutions between 1956 and 1968 – the director’s overinterpretation of classical and contemporary texts and the theatre laboratories. Its purpose is to analyse the transformation in Bulgarian theatre of these trends in the director’s strategy of “Aesopian language” and in the creating of groups of adherends, caused by the policy of ideological control and limited freedom in the countries of the Eastern Block in this period.
Keywords: Bulgarian stage directors, socialist realism, theatre and politics, allegorical director’s interpretation, theatre of adherends
Bookmarks Related papers MentionsView impact
The European Legacy, 1997
Bookmarks Related papers MentionsView impact
Litteraria Copernicana, May 22, 2018
Bookmarks Related papers MentionsView impact
Ade Teatro Revista De La Asociacion De Directores De Escena De Espana, 1998
Bookmarks Related papers MentionsView impact
Institute of Art Studies, Bulgarian Academy of Sciences, 2021
The theme of Art Readings 2021, New
Art module Annual International Conference
organised by the I... more The theme of Art Readings 2021, New
Art module Annual International Conference
organised by the Institute of Art Studies, BAS, will be
Personalia. The conference offers an opportunity to
explore a wide range of topics relating to the significance
of personality and personality’s ideological and conceptual,
creative and social role in art, literature, culture
and the sciences of spirit. In this context, tracing the
lives and creative activities of key figures in different arts
is but one of many viewpoints on the proposed theme.
The organisers seek to attract experts in art history,
history and theory of architecture, musicology, theatre
studies, film studies, culturology and the humanities,
who would present papers on various aspects of the proposed
theme such as: the role a personality plays in art
processes; personality in modern and post-modern art;
the individual as a subject of arts; personality in
arts in the digital age; personalities in the artists‘
social midst: inspirers, patrons, opponents of artists;
personality and art manifestos; personality in postmodern
creative teams and networks; philosophical,
sociological, spiritual and religious interpretations
of personality in art, etc.
Bookmarks Related papers MentionsView impact
Art Readings 2017. Institute of Art Studies. Sofia , 2018
The paper analyzes the stage director’s position and his/her role in the creation
of the theatric... more The paper analyzes the stage director’s position and his/her role in the creation
of the theatrical event today – in the beginning of the new millennium, after the “golden
century” of the director (the modern theatre between the 1870s and the late 1960s) and after the era of postmodern deconstructions and games with fragments and quotations.
The new functions of the director in the working team and in the creative process are examined in the text. They outline the broad spectrum from the traditional conceptual creator of the performance to the team’s facilitator and to an equal participant in the collaborative work. These new functions go beyond the dramatic and postdramatic theatre as well as beyond the modern and postmodern director’s strategies.
Bookmarks Related papers MentionsView impact
Art Readings 2018, Institute of Art Studies, BAS, 2019
The study analyzes the long and productive collaboration between the famous
Bulgarian stage direc... more The study analyzes the long and productive collaboration between the famous
Bulgarian stage director Galin Stoev, who works mainly in Belgium and France
and recently he became the head of Toulouse’s Theatre, and Russian playwright
Ivan Viripaev, who also gained European reputation over the last two decades.
The research focuses on the four theatre shows made by them – their first collaborative performance Archaeology of Dreaming (2002), Galin Stoev’s production
after Viripaev’s Oxigen (2003, Theatre 199, Sofia), the original project Genesis
2, which was presented in the main programme of Avignon Festival in 2007 and
their latest production Delhi Dance (2017) at the National Theatre in Sofia. In
the text are examined the similar ideas and theatre aesthetics of the director and
the playwright and highlighted the differences between them.
Текстът разглежда дългото и продуктивно сътрудничество
между известния български режисьор Галин Стоев, който работи основно
в Белгия и Франция и наскоро пое директорския пост в театъра в Тулуза,
и руския драматург Иван Вирипаев, също добил европейска известност
през последните две десетилетия. Обект на анализ в него са четири техни
съвместни театрални продукции – първата им обща работа „Археология на
сънуването“ (2002), постановката на Галин Стоев по „Кислород“ на Вирипаев
в Театър 199 (2003 г.), оригиналният им проект „Битие 2“, показан в основната
програма на фестивала в Авиньон през 2007 г., и най-новият им спектакъл
„Танцът Делхи“ (2017) в Народния театър в София. В текста са проследени
сходните идеи и театрални естетики на режисьора и драматурга, отразени
в съвместните им продукции, и са откроени различията между тях
Bookmarks Related papers MentionsView impact
Papers of BAS Humanities and Social Sciences , 2015
Geo Milev (1895-1925) is not only a brilliant expressionist poet and pub-licist from the first qu... more Geo Milev (1895-1925) is not only a brilliant expressionist poet and pub-licist from the first quarter of the last century, but also one of the founders of theatre avant-garde in Bulgaria. In 1918 in his study Theatre Art he declares an overall radical project for renewal and transformation of the Bulgarian theatre through its "re-birth" as expressionistic. Throughout the several following years the author persistently pursues the accomplishment of this project, till his early death in 1925. The reformatory ideas declared by him in his program study could be defined as an original manifestation of the Geist-trend in theatre expressionism,influenced by the conditions of the local stage practice. The article analyzes the list of playwrights and plays, through which Geo Milev intends to implement his expressionistic theatre project and discusses his debut staging of the Strindberg's Dance of Death as a first step to its realization.
Bookmarks Related papers MentionsView impact
Books by Kamelia Nikolova
Kamelia Nikolova, 2022
This volume`s texts are presented as papers at the International Conference Art
Readings 2021, Ne... more This volume`s texts are presented as papers at the International Conference Art
Readings 2021, New Art Module, 13-15 April, 2021, Sofia, Institute of Art Studies – BAS.
The articles are peer-reviewed and only the successfully went through this procedure
and editing are published in the issue.
Bookmarks Related papers MentionsView impact
Books in English by Kamelia Nikolova
Bookmarks Related papers MentionsView impact
Uploads
Papers by Kamelia Nikolova
Keywords: Bulgarian stage directors, socialist realism, theatre and politics, allegorical director’s interpretation, theatre of adherends
Art module Annual International Conference
organised by the Institute of Art Studies, BAS, will be
Personalia. The conference offers an opportunity to
explore a wide range of topics relating to the significance
of personality and personality’s ideological and conceptual,
creative and social role in art, literature, culture
and the sciences of spirit. In this context, tracing the
lives and creative activities of key figures in different arts
is but one of many viewpoints on the proposed theme.
The organisers seek to attract experts in art history,
history and theory of architecture, musicology, theatre
studies, film studies, culturology and the humanities,
who would present papers on various aspects of the proposed
theme such as: the role a personality plays in art
processes; personality in modern and post-modern art;
the individual as a subject of arts; personality in
arts in the digital age; personalities in the artists‘
social midst: inspirers, patrons, opponents of artists;
personality and art manifestos; personality in postmodern
creative teams and networks; philosophical,
sociological, spiritual and religious interpretations
of personality in art, etc.
of the theatrical event today – in the beginning of the new millennium, after the “golden
century” of the director (the modern theatre between the 1870s and the late 1960s) and after the era of postmodern deconstructions and games with fragments and quotations.
The new functions of the director in the working team and in the creative process are examined in the text. They outline the broad spectrum from the traditional conceptual creator of the performance to the team’s facilitator and to an equal participant in the collaborative work. These new functions go beyond the dramatic and postdramatic theatre as well as beyond the modern and postmodern director’s strategies.
Bulgarian stage director Galin Stoev, who works mainly in Belgium and France
and recently he became the head of Toulouse’s Theatre, and Russian playwright
Ivan Viripaev, who also gained European reputation over the last two decades.
The research focuses on the four theatre shows made by them – their first collaborative performance Archaeology of Dreaming (2002), Galin Stoev’s production
after Viripaev’s Oxigen (2003, Theatre 199, Sofia), the original project Genesis
2, which was presented in the main programme of Avignon Festival in 2007 and
their latest production Delhi Dance (2017) at the National Theatre in Sofia. In
the text are examined the similar ideas and theatre aesthetics of the director and
the playwright and highlighted the differences between them.
Текстът разглежда дългото и продуктивно сътрудничество
между известния български режисьор Галин Стоев, който работи основно
в Белгия и Франция и наскоро пое директорския пост в театъра в Тулуза,
и руския драматург Иван Вирипаев, също добил европейска известност
през последните две десетилетия. Обект на анализ в него са четири техни
съвместни театрални продукции – първата им обща работа „Археология на
сънуването“ (2002), постановката на Галин Стоев по „Кислород“ на Вирипаев
в Театър 199 (2003 г.), оригиналният им проект „Битие 2“, показан в основната
програма на фестивала в Авиньон през 2007 г., и най-новият им спектакъл
„Танцът Делхи“ (2017) в Народния театър в София. В текста са проследени
сходните идеи и театрални естетики на режисьора и драматурга, отразени
в съвместните им продукции, и са откроени различията между тях
Books by Kamelia Nikolova
Readings 2021, New Art Module, 13-15 April, 2021, Sofia, Institute of Art Studies – BAS.
The articles are peer-reviewed and only the successfully went through this procedure
and editing are published in the issue.
Books in English by Kamelia Nikolova
Keywords: Bulgarian stage directors, socialist realism, theatre and politics, allegorical director’s interpretation, theatre of adherends
Art module Annual International Conference
organised by the Institute of Art Studies, BAS, will be
Personalia. The conference offers an opportunity to
explore a wide range of topics relating to the significance
of personality and personality’s ideological and conceptual,
creative and social role in art, literature, culture
and the sciences of spirit. In this context, tracing the
lives and creative activities of key figures in different arts
is but one of many viewpoints on the proposed theme.
The organisers seek to attract experts in art history,
history and theory of architecture, musicology, theatre
studies, film studies, culturology and the humanities,
who would present papers on various aspects of the proposed
theme such as: the role a personality plays in art
processes; personality in modern and post-modern art;
the individual as a subject of arts; personality in
arts in the digital age; personalities in the artists‘
social midst: inspirers, patrons, opponents of artists;
personality and art manifestos; personality in postmodern
creative teams and networks; philosophical,
sociological, spiritual and religious interpretations
of personality in art, etc.
of the theatrical event today – in the beginning of the new millennium, after the “golden
century” of the director (the modern theatre between the 1870s and the late 1960s) and after the era of postmodern deconstructions and games with fragments and quotations.
The new functions of the director in the working team and in the creative process are examined in the text. They outline the broad spectrum from the traditional conceptual creator of the performance to the team’s facilitator and to an equal participant in the collaborative work. These new functions go beyond the dramatic and postdramatic theatre as well as beyond the modern and postmodern director’s strategies.
Bulgarian stage director Galin Stoev, who works mainly in Belgium and France
and recently he became the head of Toulouse’s Theatre, and Russian playwright
Ivan Viripaev, who also gained European reputation over the last two decades.
The research focuses on the four theatre shows made by them – their first collaborative performance Archaeology of Dreaming (2002), Galin Stoev’s production
after Viripaev’s Oxigen (2003, Theatre 199, Sofia), the original project Genesis
2, which was presented in the main programme of Avignon Festival in 2007 and
their latest production Delhi Dance (2017) at the National Theatre in Sofia. In
the text are examined the similar ideas and theatre aesthetics of the director and
the playwright and highlighted the differences between them.
Текстът разглежда дългото и продуктивно сътрудничество
между известния български режисьор Галин Стоев, който работи основно
в Белгия и Франция и наскоро пое директорския пост в театъра в Тулуза,
и руския драматург Иван Вирипаев, също добил европейска известност
през последните две десетилетия. Обект на анализ в него са четири техни
съвместни театрални продукции – първата им обща работа „Археология на
сънуването“ (2002), постановката на Галин Стоев по „Кислород“ на Вирипаев
в Театър 199 (2003 г.), оригиналният им проект „Битие 2“, показан в основната
програма на фестивала в Авиньон през 2007 г., и най-новият им спектакъл
„Танцът Делхи“ (2017) в Народния театър в София. В текста са проследени
сходните идеи и театрални естетики на режисьора и драматурга, отразени
в съвместните им продукции, и са откроени различията между тях
Readings 2021, New Art Module, 13-15 April, 2021, Sofia, Institute of Art Studies – BAS.
The articles are peer-reviewed and only the successfully went through this procedure
and editing are published in the issue.