The Summer International Academy of Dramatic Writing will be held this year Home for the Naughty in the villages of Gabrovtsi, Sofia and Veliko Tarnovo from July 23rd to August 5th. Home for the Naughty is an international training forum in dramatic writing that connects different genres through a single documentary framework. For two weeks, already established and emerging authors of playwrights and screenplays for films will participate in lectures and workshops, under the guidance of renowned European and Balkan teachers and artists. The program includes four lectures that will introduce writing dramaturgical texts for theater, cinema, dance and performance - installations and three workshops of five days each - for writing short films, for theater plays and for audio plays and audio installations. We have the great pleasure to present to you the strong Bulgarian participation in the lecture team - Albena Dimitrova. Albena was born in Sofia and left for France a few months before the fall of the Wall. He graduated from the Sorbonne in Economics. As an economist, she studies mathematical models of the systemic risks associated with privatization in Eastern European countries and the mechanisms of corruption. Since 2006 he has been devoting himself entirely to writing, dramaturgy and the presentation of plays. For four years he has been preparing the artistic program of Sofia Dance Week, the first Bulgarian festival of contemporary dance and art, which is held every year in September. Albena is the first author of Bulgarian origin to be invited to write a play for the regular repertoire of the Comédie-Française, directed by Francoise Zhilard. She has also worked with choreographers such as Orelian Bory, Pierre Rigal, Brice Luru, Kaori Ito and others. Albena Dimitrova published an essay entitled "The Taste of Bulgaria" - portraits of women in Bulgaria ("Editions Le Rocher", 2008) and poetry "Méditance" in 2009; LivingDance 2010, which have been translated into English, Chinese and Russian. She is the author of the play "The Other", which is performed in "Théâtre du Vieux-Colombier-La Comédie-Française" in 2015. Albena's novel "We will have dinner in French" is already well known in France, and the play "Geometry of rubber "gained wide popularity.

As an artist, how do you think the idea is to hold an international seminar on dramaturgy in Bulgaria?

An event that allows meetings and conversations between artists is always filled with the possibility of the unforeseen, and the unforeseen is a motto and a joy for the creators. And I am naturally glad that such an event is taking place in Bulgaria that it is organized internationally and by many professional people.

All speakers are carefully selected screenwriters and playwrights from around the world. Most of you create art in different shapes and dimensions. What will be your message to the participants?

Bulgaria is not a blur on the map of Europe and the world. Here the civic mechanisms are still fragile and perhaps a little more trust is lacking. The emotional world of the people in Bulgaria is very rich, and it is strange that creators from different cultures can also feed on this emotional energy, still quite unformatted.

 What is the main motivation behind your desire to participate in such a crazy and highly ambitious idea?

First of all, these are the people who invited me and in whom I have full confidence, Gergana, Sylvia and Mitko initiators, wonderful artists and event guards. Like the friends who introduced us, Nikola Mihov, an incredibly innovative and serious contemporary photographer. And more objectively, I believe that the place of an artist is the movement, and I find in this initiative and its organizers precisely this ambition, to enter into a wider and free movement of creative processes in theater and dramaturgy and to open it to Bulgaria. There is a selfless attempt at this.

You are a distinguished writer, novelist and playwright in France. What French culture, literature and life will you give to the project participants?

I write and write mainly in French. By never depriving either my phrases or my dramatic projects in dance without words, of the presence of my "Prima" - the Bulgarian sensory culture. The result is something like a boundless melange fed by the senses. The cultural accumulations between my French experience and my Bulgarian senses free me from the need for national belonging. I hope to be able to share these accents of pluralism in the thought and creative process. The focus on which I direct my lecture in Gabrovtsi is space. The stage space - as a laboratory for creating reliable sensory and mental situations. In France, I am fortunate to work with artists - choreographers who create with the mechanisms of gravity - that is, they seek the truth of movement without hierarchy between stage elements, light, sets, bodies, words… I hope this is of interest to participants, and most already allow us to exchange without borders and nationalities. I think that in Gabrovtsi we will all be newcomers at some point and during the days of the academy we will create a super national language.

Which ideologies of the French creators have influenced you the most?

I have a pretty bad relationship with ideologies. Every ideology closes its gaze at a moment's notice. This is structural to ideology. She must choose a logical point of view and refract all views through that specific point of view. And for me, the lack of dogmas and ideology is what I like and attract to the artists who influence me. Search for knowledge, constant interest, almost painful curiosity, and questioning and trying again! These are my favorite "ideologies" influenced by my French experience.

Which literary genre will you focus more on so that nothing is left untouched by it?

I think things will always remain intact, but what attracts me almost like magic is the novel. There is something quite endless in this genre. Words have multi-layered dimensions. They are at the same time a word in the dialogues, a description in the sets, invisible music in the style, a rest in the dream, vowels and vowels… And only the novel allows it. In an essay, the author and the reader are obliged to qualify the words, to give them a logical connection to an argument or a defended position. In the novel, neither the author nor the reader is bound. There the words belong to the characters and to the fiction, which is formed absolutely independently in each reader, and after publication does not belong in any other way to the author, who becomes simply a reader in turn. For me, the reader completes a novel and I like this endless freedom very much.

How do you see the contemporary dance of the Bulgarian society and what would you change in the scenario?

If I understand the metaphor correctly, I should believe that there is a script and a director. And I believe that there is no written script, much less an all-powerful director. I have the feeling that the Bulgarian society is widely expressed by the hostility and pain of the fraudsters, but fails to believe that it can create rules of mutual existence without fraud and corruption. This is quite contradictory in itself and blocks the directions of development and movement. From a dramatic point of view, intractable internal conflict does not make a play. At one point, one of the forces prevails and sets off in an undiscovered direction. We are all part of, in one way or another, the unblocking of this internal social conflict that Bulgaria is in today. And we will also be provoked by the forces that will prevail tomorrow. One thing is for sure, each of us creates and adopts the appropriate rules with which the game goes on.

Have you been to Gabrovtsi? The organizers have taken care to provide the most comfortable and appropriate creative environment. How do you prepare for this adventure?

With joy! I don't know Gabrovtsi well. I've never been there, but I know the region quite well. Nature is amazing and in places pristine. And where the city attracts people from the villages for their livelihood, the deserted houses are occupied by nature. There is something very strong and powerful, sometimes sad, but certainly alive! This is so different from desolate cities - ghosts that leave death behind. Such as cities like Detroit after the financial subprime crisis… As for my preparation, I am mostly worried about this: How will I speak English in Bulgaria, where I am invited to speak about my French experience?… Mmm, yes! I have the feeling that I will be in the Tower of Babel!

Will you feel like you are in a former correctional school? The public still accepts them as normal. I can only ask you this question because your work, "Let's Have Dinner in French," concerns the communist regime. Can the transformation of this school be considered a small victory over social injustices?

I do not know exactly what "educational school" means, but certainly "Voz" - my question seems important to the human spirit when we are led to have to take care of only our "question" (the thought and sensory process is close to that of animals, survival instinct). For this reason, the pretext of "Voz", that is, above the "question", seems to me essential for opening a wider worldview than that of survival. It is one of the beauties of human being that seeks to transcend survival and enrich the depth of life experience. Without this pretext, "Voz" would have no fundamental science and discoveries, no Internet, much less theater and dramaturgy. As for my last novel, I am talking about neoliberalism, which is reflected in the lack of opposition. I don't think we pushed the wall to wear Nike sneakers, nor was we brought up by the realm of almighty money. And I can't help but ask myself: Are we freer and more democratic today? How is freedom of expression, which was one of the most severely sanctioned freedoms during communism, used today? Just thinking that Snowden was pointed at by "free societies" and treated like a Solzhenitsyn, a "traitor to the people and a criminal for security"… Doesn't that remind you of something?… Personally, it worries me so much. as I am disturbed by our mass passivity and the possibility, prohibited by ideological norms, of looking without dogma at both the communist experience and neoliberal totalitarianism.

You have long gone outside Bulgaria, but your participation in various smaller and larger events in the country shows that you have a strong attitude towards today's events and changes. How does your creative process of connecting with your motherland affect you?

Indeed, I have lived in France for more than half my life. I would even say that my conscious life was spent mainly in France. And I find this an opportunity, a bit like leaving the "Plato's Cave" and realizing where you come from and "how the shadows on the wall in the cave" move. But as in Plato's parable, to go out and open yourself to the outside world is not an end in itself, nor an escape. I have this chance to love the "open cave" and for that I do not close in either France or Bulgaria, I just open my eyes in both places.

Together with world-renowned choreographers Orelian Bory and Pierre Pigal, you create the play "The Geometry of Rubber." How was the idea born and what drew you to it in this creative process?

"Rubber Geometry" is the other name in one of the branches of higher mathematics, topology. Like Orellan and Pierre, I come from the world of exact sciences. This certainly brings us together and entertains us. Orelyan's idea is to bring out the theatrical discovery of the lack of form and to observe extremely precisely the change of states at the points of contact of the change. This is also the subject of topology. Simply put, in topology, square and circle are one and the same thing. What matters is only the process of transfusion without formal analysis in one state or another. There are stunning risks in the play itself. It is performed by eight acrobats, and on stage the audience is four lateral, something like a square ring in the middle and in front of each side of the ring are the seats for the audience. That is, the view of the audience comes from four points of view. The place where the play itself is played is a huge square tent, the scaled-down replica of which becomes a puppet of strings and is the subject of the performance itself. The audience realizes that the space in which it is located is also the content of what it is looking at. Everyone tells themselves a story we don't know. Throughout the first part of the show, each of the four audiences sees only two actors, and in the second half of the show he discovers all the artists on stage who manipulate the ensemble of the thread tent… There were people who came back to see the play four times, taking places in a different field of view. We had named the areas North, West, East, South - as a metaphor for the world. And just as we never see the whole world we live in, so in our play people saw only a quarter of what was happening on stage. We thank Albena for the extra energy she will give to the participants in this forum, as well as more comments and comments from Home for the Naughty you can follow us throughout the 23.07 - 05.08, 2016 axis. 

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