Welcome to the Ambassador Theater’s production of the Bulgarian play Hopa Tropa  Kukerica, the third piece of our repertory of family plays from around the world. We are  thrilled  to bring a taste of Bulgarian culture to the beautiful Masonic Theater at the George  Washington  Masonic Memorial here in Old Town, Alexandria. This is the first show we have  ever produced  for the City of Alexandria, and we are very excited to be here.  We are  extremely thankful to the  city and the Commission of the Arts for their welcoming support  and to Mrs. Radka Mavrova  and the George Washington Masonic Memorial for hosting us.    Ambassador Theater always  seeks to build bridges between cultures with art, exemplified not   only by this show but also our International Artists Series. On April 15^th, we will present “You and I, Love” at the Mead Theater Lab starring two of Bulgaria’s most accomplished    actors, Boyka Velkova and Stefan Spasov.  Even though we have produced most of our shows  in DC for our first three years, we see this presentation as a stepping stone. The Masonic  Theater is the largest venue we have played in to date, and we very much hope to return as  often as we can. We hope that today will be the beginning of a long term relationship and that  we can continue bringing diverse shows to the City of Alexandria.

Bringing Bulgaria’s folk traditions to life with puppetry, song, and dance is an undertaking that requires great dedication and focus. I am so thrilled that the American and Bulgarian artists working together in Hopa Tropa Kukerica have brought such passion with them every single day. Not only were they rehearsing a show that required learning and refining multiple performance skills, they were learning to better understand and teach one another. Their belief in the power of theater to both entertain and educate is central to our success, and something that we could not be more proud of.

From the very beginning, we sought to expand this event and incorporate other performers who wished to share their love of Bulgarian culture with an audience. We are very pleased to share this theater today with the exceptional talents of Orfeia, Svitanya, and Zharava. The participation of the St. Kliment Okhridski Bulgarian School’s and the Bulgarian Community Center is a perfect example of what Ambassador Theater is all about: the advancement of multicultural education. We cannot express our gratitude enough for their participation. This is truly a grand celebration of Bulgaria and we are honored to share it with you. Enjoy the show!

Hanna Bondarewska

One of the many reasons I was attracted to Ambassador Theater’s Hopa Tropa: Kukerica was  the   opportunity to connect and create with international artists. I love to travel and to  experience    other cultures.  Now that I’m in full-fledged rehearsal mode with the Hopa  Tropa cast, I’m truly  enjoying and appreciating the connection I’m feeling with Bulgaria. The  first time that we had the  full cast together, Lilia immersed us in information. We looked at  pictures, read books, and  listened to music, while the other Bulgarian cast members shared their  own perspectives to give  us further insight into their country. Now, when I go to rehearsals, I  like to imagine I’m in  Bulgaria, surrounded by the music, the language and the people.  When we rehearse at Lilia’s home, my imagination doesn’t have to work very hard, due to her generous hospitality and the revolving door of Bulgarian guests and friends that are always in her home. From day one, this has been a tremendously satisfying intercultural experience.

Traditions - At our rehearsal on the first of March, Konstantin brought a red and white woven bracelet for everyone to wear. He and Daria explained a Bulgarian tradition that people will wear something like this on March 1st to celebrate the coming of spring and to bring good fortune into their lives. They cannot remove the bracelet until they see either a stork or a tree in full bloom. Then they will tie the bracelet to a tree to welcome the spring season. I was happy to wear the bracelet and kept my eyes peeled for one of the signs of spring, and only 3 days later found a beautiful tree in full bloom! At rehearsal the next day, I was asked what happened to my bracelet, and I was excited to tell Konstantin and Daria that I had participated in Bulgarian culture by tying it to a blooming tree. However, I was told I acted too soon, and usually they wear their red and white until at least the end of the month. (I blame the mild DC winter.)

Language Barrier – Rehearsals are in English with the occasional slew of Bulgarian. I’m definitely excited about learning the many Bulgarian song lyrics, and thanks to our musical director, Petko, I have a fairly good idea of what I’m singing about. The other night, I had a delightful encounter of mistaken meanings when the language barrier really came into play. I’ll start by saying that Konstantin’s English is actually very impressive considering he has only been learning the language for about the past year. I’ll also say that he is an incredibly affectionate Bulgarian man with little to no physical boundaries, and I never really know what to expect from him. During this particular instance, he saw me having a little laugh to myself about something and he said, “What you smell?” He started to move toward me and given all of previous experiences with Konstantin, I believed he was on his way over to sniff me. I began to step away and must have had a look of great concern on my face, because he started speaking Bulgarian, maybe to get help clarifying what he was asking, and the Bulgarians began to have a good laugh. It was then translated that he meant to ask, “Why are you smiling?” The room erupted in good natured laughter. Thanks to that misunderstanding, Konstantin says that’s one phrase he’ll never forget how to say in English.

At this point in our rehearsal process, I can see the mass of work that lies before us to fine-tune our dances, songs and puppetry. The details that go into each decision for the show are carefully discussed by Lilia and the rest of the production team, and then given to us actors to bring to life. Yes, there is a lot of work to be done, but it is work that I experience great joy in through working with the talented and dedicated team. And although I may feel like I have traveled internationally for a few hours here or there, the truth is, my desire to visitBulgaria is only stoked more and more as we sing, dance, discover and play.

  OTHER “What you smell” WITNESSES –

“Honestly, I had no idea what was going on. Kosio looked confused. Daria looks confused. Amie  looked more confused than anyone. Next thing I know Lilia is laughing, Amie is laughing, all the  Bulgarians are laughing, and Daniel is rolling on the floor.” – Gwen

“He kept asking ‘What you smell’ and after hearing him say it so many times I asked him to tell me  in Bulgarian. When he told me, it was so silly. I think he found it funnier than anyone.” - Daria

“Everyone else was laughing, and I was in tears. I was on the floor holding my sides because I was laughing so hard I couldn’t breathe. Maybe you had to be there to realize just how funny it was, but it made my day. We are professional actors and a lot of time we take rehearsal very, very seriously. But we get along so well that when those moments happen, we all laugh together and forget how to be serious for a while.” – Daniel

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  ^1st Rehearsal. I’m excited and slightly scared. I am one of the Bulgarians,   in a Bulgarian show which will include Bulgarian singing and dancing.    That’s a lot of pressure :) . I try to push the worries and woes of the day  behind me and go to rehearsal smiling, light and open to people and a  world of new possibilities. I am trying to act as a true professional.

(Photo by Valentin Radev)

Push;  push away the plans, and the everlasting ticking away of time, that I  have become so conscious of lately :). Push away the juggling of time  constraints, money limitations, and my desires and ambitions to… well,  change the world. 3 hours of dance rehearsal follow. Just try and stand  straight (always a struggle after a day of sitting at the office), and smile  and laugh onstage. Somehow I lose myself in the steps and the music. I forget the fights which I fight outside of the magical space called rehearsal.

2^nd Rehearsal. It turns out that these folk dances are not so easy after all, and they do indeed require quite serious training, even if one is Bulgarian (so, really, the last time I danced a folk dance I was 6 or so). So anyway…. To my amusement, a kid is added now to our cast, and guess what? She learns the steps faster than I do. We are all impressed. :)

During one of the breaks, while catching my breath, I suddenly laugh and I tell my fellow actor, Kosio, I guess we had to come to America to learn Bulgarian folk dances. Somehow, despite the whole ridiculousness of the situation, I am not cynical as usual and I feel happy and light. New horizons have opened again.

4^th Rehearsal. I am quite impressed with the director of the show, who’s had a surgery recently but is already with us rehearsing. (She also seems to have more energy than me). Something to learn from.

5-6 Rehearsal. We play with puppets for the first time. I am not sure what my puppet should talk about. He looks confused as well. I try to find his voice. He tries to speak in a low pitched tone, and looks a bit puzzled, as if to say… I don’t think so… I remind myself again to just keep playing. Soon, the puppet starts singing. Another puppet tries to upstage him. But he is happy to be alive again, and keeps singing.

8^th Rehearsal. I am driving from NYC and late for rehearsal. I vow for the millionth time in my life that I will never be late again. Ever. Honestly.

(Not that I want to really, something always comes up. Like the traffic cop, this one time, ticket and all….. I guess I will have to just duke it out, and leave 1.5h early).

Daria Kondova

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(Photo by Valentin Radev)

I have a confession to make. Back in high school and college, I used to dance every day. I was always in my school’s spring musical, took hip hop and jazz classes, and even went to a weekly swing dance night at my church. One day, some time after graduation, I stopped. I can’t point to a reason or situation that caused me to stop. I just stopped. About 5 minutes into our first day with Ivan, our choreographer, I regretted taking such a long break from dancing. Not just because I was having fun, but because I was already getting sore and my clothes were getting heavier from soaking up so much sweat. 4 hours later, I had lost 4 lbs and found my dancing feet once again.

Dance Auditions for Hopa Tropa Kukerica

Some interests are worth taking up again, even if they make you sweat through multiple shirts!

THE TOP OF THE 5^TH

Friday, March 2.

I get really excited when I wake up in the morning for two reasons: Hopa Tropa Kukerica and Spring Training. The only thing I love more than the performing arts is watching a baseball game, so right now I feel like a kid who gets to have his birthday party the day before Christmas!

We have 1 month to go before our show goes up in front of an audience, and it feels like I’m in the 5^th inning of a baseball game. We’ve been playing for a while, but we have a ways to go yet. At any moment one of us could pick up a puppet, or start a new song, and hit a home run to put us ahead. Translation for those who are not baseball fans: I really believe that we are one inspired idea away from creating a truly special show. I can feel it as the actors warm up. We aren’t satisfied with being good, or making a good show into a great one. We want to make magic happen.

That doesn’t mean we haven’t had our struggles. Some of us have jobs or responsibilities that make it difficult to be at every rehearsal. Others have trouble remembering not to touch or adjust the puppet unless they are playing the hands. Everyone has a weakness, and sometimes that’s all we can think about at the end of the day. Sometimes, we forget that we have strengths that can lead us to discoveries that will inspire everyone.

It’s time for one of us to step up to the plate and take this game to a new level. Will it be me? I’d like that, but I don’t know. No matter what, I’ll do everything in my power to help the team.

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  When the full cast met for the first time, we could hardly contain our  excitement. Not only were we about to create a show that would bring  Bulgarian art to a broad audience, we were preparing this show for a  beautiful space: The George Washington Masonic Memorial Temple.  After one rehearsal, I became nervous. I realized how little I knew about  Bulgarian culture. But three rehearsals later, I realized how much more I  wanted to learn. The music and culture of Bulgaria is rich with diverse  history and influence. A nation that stands as a gateway between east  and west, their art is a  reflection of the many peoples who have passed through their lands. But  with every new chapter to the history of their country, the Bulgarian  people have always held fast to their own identity. They continue to  dance, sing, and play as only Bulgaria can.

I feel very fortunate to be given the opportunity to dance as they do.

- Daniel Rovin

“If you hop and jump this much, you cannot help but feel happy.” – Lilia

“Dancing, singing, playing, and puppetry. What more can you ask for in one day?” –  what everyone was thinking at the time!

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Madness: For Witkiewicz, the play’s the thing

Photo: Gediyon Kifle

WASHINGTON, DC, December 4, 2011 — The artist is mad, insane, suicidal. In The Madman and the Nun, a play set entirely in a lunatic asylum, we meet poet Alexander Walpurg, who’s diagnosed with “acute dementia praecox” and bound by a straitjacket.

Theater goers, confined with him for 65 fast-moving minutes, are in for a hilarious romp as they are drawn into Walpurg’s profound commentary on creativity and madness.

Polish absurdist playwright Stanislaw Ignacy Witkiewicz (aka Witkacy), who himself committed suicide in 1939 at age 54, wrote this surreal, engaging, erotic and biting satire of psychoanalysis and the perils of the artist in 1923.

Hanna Bondarewska and the cast of ‘Madman.’ (Photo credits: Dediyon Kifle.)

Director Hanna Bondarewska has created a spirited update of the play. The patient’s file is handed to the viewer on entering, and it conveniently functions as the drama’s program notes. Two live computer screens illuminate the action on stage, transmitting real time images of the poet Walpurg. A brand new app for the iPad is unveiled when the trendy device becomes a weapon that’s used to beat our anti-hero.

Bondarewska brings this play to a close, gloriously, lightly, and ingeniously by deploying the song “Chapel of love” and blending it into Witkacy’s surreally happy ending. This and other theatrical touches have earned for Bondarewska the attention of the current batch of literary scholars who are now giving Witkacy his belated due.

After she performed a staged reading of Witkacy’s Country House, she says, “I got phone calls from Professors Daniel Gerould and Mark Rudnicki,” experts on the playwright’s work which also includes an extensive portfolio of paintings. As a result of these conversations, “They asked me to perform at their conference last year.” That formed the seed of this new production that inspired Gerould to journey to DC to see. Clearly, Bondarewska has earned his attention, and she deserves ours as well.

Madman Walpurg (John Stange) and Nun, Sister Anna (Jenny Donovan), up close and personal.

In The Madman and the Nun, Bondarewska has brought to the fore the dangers facing the creative soul, which she describes as “misunderstanding and vulnerability.”

In Madman, Walpurg expresses the pain of creation to Sister Anna, who releases him from the straitjacket, gives him a pencil, and quickly becomes his lover:

“I’m composing poetry again now. But I think my poems are getting worse. I can’t write anymore. But then you can also use a pencil to kill yourself.”

The artist’s suffering for lack of appreciation permeates the play. It seems to parallel the trajectory of the playwright’s own life. Witkacy’s contemporaries and friends – painters, composers, and, most well-known to Americans, pianist Artur Rubenstein – eclipsed him.

One of the Madman’s many looks.

For the playwright, competition constitutes only part of the artist’s dilemma and the play’s territory. The poet’s vulnerability to all he sees, his own unconscious mind, his openness to the pain of others, his ability to see what the other has been through—all these feed his art yet drive him toward madness.

Witkacy has a lot of company. Here is an abbreviated list of just some of the artists who have died by their own hand:

• The poet Paul Celan
• The painter Vincent Van Gogh
• The poet Sylvia Plath
• The novelist Virginia Woolf
• The painter Mark Rothko
• The novelist Ernest Hemingway
• Most recently, the novelist David Foster Wallace

 

Vincent Van Gogh said of his own recurring breakdowns,

“And perhaps the disease of the heart is caused by this. One does not rebel against things, it does no good; nor is one resigned to them; one’s ill because of them and one does not get better.”

Must it be this way?

William Styron, author of Sophie’s Choice, describes in Darkness Visible: A Memoir of Madnesshis dependence on alcohol and his journey through depression.

Like the poet Baudelaire, he despaired, I have felt the wind of the wing of madness.

He adds:

“As for that initial triggering mechanism—what I have called the manifest crisis—can I really be satisfied with the idea that abrupt withdrawal from alcohol started the plunge downward? … Or could it be that a vague dissatisfaction with the way in which my work was going—the onset of inertia which has possessed me time and time again during my writing life, has made me crabbed and discontented—had also haunted me more fiercely …?”

He, like Witkacy’s poet, finds a way through the morass, depending on how the viewer chooses to read the ending of the play. That duplicity, the either/or, the to-be-or-not-to-be, is the territory of the play.

Bondarewska, artistic director of DC’s Ambassador Theater troupe, fully understands the artist’s plight. In presenting Madman here, she wants to make a difference. The play for her is the thing but not the only thing. She teaches through her program Ambassadors of International Culture and is now working with children at Hoffman-Boston Elementary school in Arlington, Virginia.

Sister Anna (Jenny Donovan) lets her hair down while an Assistant in the asylum (James Randle) looks on and exercises his imagination.

Her aim is to to build confidence, communication and hope. She wants to insulate the young mind against the vulnerability the creative soul faces. But in addition, she lives for the artist in us all. “In today’s world of technology,” she says, “the artist’s time is ever more narrowed to be free, to be devoted to their art.” Her greatest fear is that the contemporary artist, like Witkacy, will choose suicide rather than go on living and creating art.

The Madman and the Nun is a witty, lively, but extraordinarily thoughtful play. Theatergoers, artists, creative souls and anyone who wants both a fast romp and an intellectual challenge should carve some time out of their busy schedules to take in this most unusual play.

The Madman and the Nun runs through Dec. 18, 2011, 8 pm at Mead Theater Lab at Flashpoint, 916 G Street, NW, Washington, DC. Tickets: $30. Students and senior citizens $20. Buy tickets online www.aticc.org/home/box-office or at the door.

The question remains, “Is the artist doomed?” For a positive take, listen to Elizabeth Gilbert who gave the following TED talk on precisely that question. This clip is on the long side, so sample as much as you wish.

Mary L. Tabor is the author of the memoir: (Re)Making Love: a sex after sixty story and The Woman Who Never Cooked. She says, “I ferret out the detail, love the footnote, am never bored and believe it all leads to story. Best advice I ever got? ‘Only connect …’ E.M. Forster” Find out more at maryltabor.com