Ana Valchanova

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Iskren Petkov

Iskren Petkov is a freelance artist with interests and experience into the sphere of contemporary dance and performance. He obtained his Bachelor Degree in Dance Theatre at the National Academy for Theatre and Film Arts in Sofia, Bulgaria.  Iskren defines himself as “a very high level amateur”.

 

 

 

 

Picture from a workshop with Ivo Dimchev.

 

He worked on various artistic projects and in 2013 he is one of the three finalists in the forth edition of “tri3avisim” a long-term initiative of The Contemporary Performing Arts Guild, Bulgaria. He created the performance Inter_view #22.

 

 

 

 

 

 

Inter_view #22

photo: Marica Kolcheva

 

You could see Iskren in a Chamber opera by Galina Borissova – Lucia, Giovanni & Cecilia and in his Solo-dance performance – Spring Awakening.

 

In ‘The Effect of Gamma Rays on Man-in-the-Moon Marigolds’ Iskren  plays Peter, Ruth and Tillie’s favorite pet.

 

More about Iskren’s projects and his point of view over contemporary dance and performance you could see HERE.

Iva Valkova

Iva Valkova is a 2012 graduate of the National Academy for Theatre and Film Arts in Bulgaria. Her professional debut was Alena in ‘Belgrade Trilogy’ by Biljana Srbljanovic, produced by The WhiteListed Theatre Company, New York. At the beggining she went back to New York to play the part of Marlene Dietrich in ‘Lost in Space’ by Dejan Dukovski and director Petar Varbanov.

 

 

 

 

 

 

 

“Lost in Space” by Dejan Dukovski, director Petar Varbanov, Marlene Dietrich

In Bulagaria Iva Valkova was playing The Bride  in ‘Blood Wedding’ by Lorca, Bobbi Michele in ‘Last of the Red Hot Lovers’ by Neil Simon in Drama theatre in Pleven and Marta in ‘The Roman Bath’ by Stanislav Stratiev in Satira Theatre in Sofia.

 

 

 

 

 

 

The Bride in “Blood Wedding” by F. G. Lorca, director Margarita Macheva 

 

 

 

 

 

Bobbi Michele in ‘Last of the Red Hot Lovers’ by Neil Simon, director Bojko Iliev

In ‘The Effect of Gamma Rays on Man-in-the-Moon Marigolds’ Iva for the first time in her career is taking part in a site spacific indipendant project. She plays Ruth, the big dauther, a litlle bit strange, a little bit crazy and really funny character.

 

 

 

 

 

 

 

 

photos: personal archive

More about ‘The Effect of Gamma Rays on Man-in-the-Moon Marigolds’ you could see HERE.

Petya Deneva

Petya Deneva is an Bulgarian artist. She accepted a provocation by the director Mariy Rosen and became a part from the performance ‘The Effect of Gamma Rays on Man-in-the-Moon Marigolds’ by Paul Zindel. You could see more about her work HERE.

 

 

‘The Garden’, from the exhebition ‘The Mountain’, 130×130 cm.Oil on canvas

 

 

 

 

 

 

‘Roamer Forester’, from the exhebition ‘The Mountain’, 130×130 cm.Oil on canvas

 

 

 

 

 

 

‘Mountain’, from the exhebition ‘The Mountain’, 130×140 cm.Oil on canvas

 

 

 

 

 

‘Let the Birds see me’, from the exhebition ‘The living sea above me’, 110×75 cm. Mix technique, paper.

 

 

 

 

 

 

‘The Sower’, from the exhebition ‘The living sea above me’, 120×160 cm. Mix technique, paper.

 

 

 

 

 

Paul Zindel and ‘The Effect of Gamma Rays on Man-in-the-Moon Marigolds’

Paul Zindel (1936 – 2003)

MARIGOLDS … REVISITED

Marigolds was written when I was twenty-five years old. One morning I awoke and discovered the manuscript next to my typewriter. I suspect it is autobiographical, because whenever I see a production of it I laugh and cry harder than anyone else in the audience. I laugh because the play always reminds me of still another charmingly frantic scheme of my mother’s to get rich quick—a profusion of schemes all of which couldn’t possibly appear in the play: It might be the time my mother decided to make a fortune as a dog breeder but ended up with twenty-six collies when no buyers appeared; or perhaps I’ll recall her hot dog emporium at a small airport; or her Phone-A-Gift Service. I remember an endless series of preposterous undertakings—hatcheck girl, PT boat riveter, unlicensed real estate broker.

 

But my tears come from a time several years after the play was written, when I returned to my mother’s house knowing she had only a few months to live; she was unaware of the fact that she was dying. We had long before made that peace between parent and son which Nature insists not happen until the teen years have passed. During that privileged time just before she died, we enjoyed each other as friends. If she felt strong on a particular day she’d ask to go for a car ride. She loved burnt-almond ice cream, shrimp in lobster sauce, and flowers in bloom. On one of our trips we discovered a grove with a family of pheasants, a floor of lilies of the valley, and a ceiling of wisteria. Always we talked of the past—of her father, of his vegetable wagon in old Stapleton, of a man who rented a room in her father’s house in which to store thousands of Christmas toys. There was always the unusual, the hilarity, the sadness. In her own way she told me of her secret dreams and fears—so many of which somehow I had sensed, and discovered written into that manuscript next to my typewriter, many years before.

 

Paul Zindel

 

Source: The Kindle Edition of ‘The Effect of Gamma Rays on Man-in-the-Moon Marigolds’.

photo: wikipedia.com