A Penetrating Dive

8 January 2009 Galina Keremedchieva
Christin Sharkov is an immodestly young man, but he is self-confidence enough to make his professional debut with a spectacular provocation, deeply diving into moral problems. He is going to graduate as a theatrical director in National Academy for Theatrical and Film Arts. Being a student, he has been working in some university projects and being an assistant of Yavor Gardevs last works. For 3 months he is rehearsing with the company of Varna Drama Theatre the play Macbeth by Heiner Muler and is thinking of concepts good and evil, without teaching us.

Your future work in Varna was announced a year ago. What forced the project’s delay?
The Varna theatre has a tradition in debuts and graduates’ performances. Why mine project delayed, I can’t say. During that time I worked in the previous project of the theatre – Caligula, as an assistant-director.

So you had enough time to gain an intimate knowledge of the company. Most of them are the same actors Yavor Gartev prefers to work with.
I know some of them from the past, some of them I got to know during that work as assistant. It was an important check for me – whether I can work with those actors, who are proper for the project. The stenography is also by a debutant – Ogniana Serafimova, who I know from the Academy. We decided that visitors will be on the stage, but let them know by themselves how the plot is situated in the space.

Was the choice of the play also yours?
I submitted the text to the company’s director Dafinka Danailova and we have discussed a lot of versions. But I am very pleased that I had the chance to make my professional debut with a play, which allows me to develop my skills as an editor. That is very hard project for a debutant, but I searched for it purposefully. I was purposefully immodest in my choice, because there is a trend of more quite debuts, which can stay anonymous.

The first idea, when someone hears Macbeth, is about Shakespeare’s tragedy. You has run away from the classical play and has chosen Heiner Muler’s adaptation.
I haven’t run away from Shakespeare. Muler’s adaptation follows his plot and the logic of his characters. That play can’t be treated without the original, it is not against Shakespeare, it is a contemporary improvisation and a postbrechtian complement.

What is your complement to Shakespeare and Muler?
I strictly follow them. Every editor adds something, but I prefer to leave the performance to show the way I have interpreted those two colossi. The problems in Macbeth have ever thrilled me – to watch the power through the intimate world of a person. That is a theme, which gives me the freedom to sink into a very deep abysm and to produce a performance without any limits – bed is not completely bed, good is not completely good. The same is with the theatrical art – it declines to edify and that’s why it is able to analyze the problems in more profound way.


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