[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"$f3csrri0rpc3c4":3},{"name":4,"slug":5,"guest":6,"profileImage":7,"coverImage":13,"quote":9,"shortBio":18,"plays":19,"intro":9,"images":40,"videos":41},"Ivan Mitev","ivan-mitev",false,{"id":8,"title":9,"description":9,"alt":9,"url":10,"width":11,"height":12,"sizes":9},91,null,"\u002Fapi\u002Fmedia\u002Ffile\u002F%D0%98%D0%B2%D0%B0%D0%BD%20%D0%9C%D0%B8%D1%82%D0%B5%D0%B2-2.jpg",960,1440,{"id":14,"title":9,"description":9,"alt":9,"url":15,"width":16,"height":17,"sizes":9},107,"\u002Fapi\u002Fmedia\u002Ffile\u002F%D0%98%D0%B2%D0%B0%D0%BD%20%D0%9C%D0%B8%D1%82%D0%B5%D0%B2-3.jpg",2720,1335,"\u003Ch1>Ivan Mitev\u003C\u002Fh1>\n\u003Cp>From an early age, while still at school, Ivan Mitev showed an interest in the performing arts and took part in the theatre workshop led by Konstantin Dimchev.\u003C\u002Fp>\n\u003Cp>In 1976, he was admitted to the Higher Institute of Theatre Arts “Krastyo Sarafov” (VITIZ), specialising in Acting, in the class of Professor Sasho Stoyanov and Associate Professor Tsvetana Stoyanova. He participated in all of the class’s graduation productions, including \u003Cem>In the Blazing Darkness\u003C\u002Fem>, \u003Cem>The Fox and the Grapes\u003C\u002Fem>, \u003Cem>Duel\u003C\u002Fem>, \u003Cem>Osiris and Isis\u003C\u002Fem>, \u003Cem>Peruvian Legends\u003C\u002Fem>, \u003Cem>Oh, Dad, Poor Dad, Mamma’s Hung You in the Closet and I’m Feeling So Sad\u003C\u002Fem> and \u003Cem>Monument\u003C\u002Fem>.\u003C\u002Fp>\n\u003Cp>He graduated in 1980 and began his professional career at the Drama Theatre in Targovishte. He made his stage debut as Margaridi in \u003Cem>The Misunderstood Civilization\u003C\u002Fem> by Dobri Voynikov. His subsequent roles included Lucentio in William Shakespeare’s \u003Cem>The Taming of the Shrew\u003C\u002Fem>; Veselin in \u003Cem>Blue-and-White Frost\u003C\u002Fem> by Konstantin Georgiev; Marin the Forester and the Zootechnician in \u003Cem>Triptych\u003C\u002Fem> by Nikolay Haytov; Mishka Zemtsov in \u003Cem>Cruel Games\u003C\u002Fem> by Alexei Arbuzov; the Lieutenant in \u003Cem>The Forty-First\u003C\u002Fem>, based on the work by Boris Lavrenyov; Ferdinand in Friedrich Schiller’s \u003Cem>Intrigue and Love\u003C\u002Fem>; and Ralski in \u003Cem>Saturday the 23rd\u003C\u002Fem> by Stefan Tsanev.\u003C\u002Fp>\n\u003Cp>In 1984, he was invited to join the Musical Dramatic Theatre “Konstantin Kisimov” in Veliko Tarnovo, whose stage remained central to his artistic career for most of his professional life. Over the decades, he created more than 120 theatrical characters.\u003C\u002Fp>\n\u003Ch2>Roles at the Musical Dramatic Theatre “Konstantin Kisimov”\u003C\u002Fh2>\n\u003Cul>\n\u003Cli>The Weather Vane in \u003Cem>The Iron Boy\u003C\u002Fem> by Yordan Radichkov\u003C\u002Fli>\n\u003Cli>Stasis in \u003Cem>The Fourth Language\u003C\u002Fem> by Angel Wagenstein\u003C\u002Fli>\n\u003Cli>The Man in \u003Cem>Life Is Two Women\u003C\u002Fem> by Stefan Tsanev\u003C\u002Fli>\n\u003Cli>Mark in \u003Cem>John and the Caesar\u003C\u002Fem> by R. Radkov\u003C\u002Fli>\n\u003Cli>Sergeant Porterhouse in \u003Cem>Between Two Chairs\u003C\u002Fem> by Ray Cooney\u003C\u002Fli>\n\u003Cli>Ivan in \u003Cem>A Kingdom of Women\u003C\u002Fem> by St. L. Kostov\u003C\u002Fli>\n\u003Cli>Gilbert Bodley in \u003Cem>Not Now, Darling\u003C\u002Fem> by Ray Cooney\u003C\u002Fli>\n\u003Cli>The Romanian in \u003Cem>We, the Bulgarians\u003C\u002Fem> by Hristo Boychev and Ivan Kulekov\u003C\u002Fli>\n\u003Cli>Konstantin Preslavski in \u003Cem>Tsar Simeon the Great\u003C\u002Fem> by St. Staychev\u003C\u002Fli>\n\u003Cli>Solicitor Spettigue in \u003Cem>Charley’s Aunt\u003C\u002Fem>\u003C\u002Fli>\n\u003Cli>Boil in \u003Cem>The Lighthouse\u003C\u002Fem> by S. Komitski\u003C\u002Fli>\n\u003Cli>Oborski in \u003Cem>The Lie\u003C\u002Fem> by Ivan Mitev\u003C\u002Fli>\n\u003Cli>Dragalevski in \u003Cem>Duel\u003C\u002Fem> by Ivan Vazov\u003C\u002Fli>\n\u003Cli>Bukov in \u003Cem>The New Harbour\u003C\u002Fem> by St. L. Kostov\u003C\u002Fli>\n\u003Cli>John Vallone in \u003Cem>One Jackson Too Many\u003C\u002Fem> by Arthur Newfield\u003C\u002Fli>\n\u003Cli>Giuseppe in \u003Cem>Opera Mafiosa\u003C\u002Fem> by V. Stanilov\u003C\u002Fli>\n\u003Cli>Don Quixote in \u003Cem>Man of La Mancha\u003C\u002Fem>\u003C\u002Fli>\n\u003Cli>Siam in \u003Cem>Perpetuum Mobile\u003C\u002Fem> by L. Bosilkov\u003C\u002Fli>\n\u003Cli>Prokhor Zheleznov in \u003Cem>Vassa Zheleznova\u003C\u002Fem> by Maxim Gorky\u003C\u002Fli>\n\u003Cli>Baltov in \u003Cem>Office Seekers\u003C\u002Fem> by Ivan Vazov\u003C\u002Fli>\n\u003Cli>Pavel Kerekov in \u003Cem>The Mother-in-Law\u003C\u002Fem> by Anton Strashimirov\u003C\u002Fli>\n\u003Cli>Pietro, the Father, the Knife Grinder and Lizio in \u003Cem>The Decameron\u003C\u002Fem>, based on the work by Giovanni Boccaccio\u003C\u002Fli>\n\u003Cli>Avram Nemtur in \u003Cem>The Iron Candlestick\u003C\u002Fem>, based on the novel by Dimitar Talev\u003C\u002Fli>\n\u003Cli>The Magician Rajapur in \u003Cem>A Hotel Between This World and the Next\u003C\u002Fem> by Éric-Emmanuel Schmitt\u003C\u002Fli>\n\u003Cli>Maslarski in \u003Cem>The Millionaire\u003C\u002Fem> by Yordan Yovkov\u003C\u002Fli>\n\u003Cli>The Gentlemen in \u003Cem>A Church for Wolves\u003C\u002Fem> by Petar Anastasov\u003C\u002Fli>\n\u003Cli>Theodore-Peter in \u003Cem>The Glory of the Asen Dynasty\u003C\u002Fem> by Ivan Mitev\u003C\u002Fli>\n\u003Cli>Mrs. Frekenbok in \u003Cem>Little Brother and Karlsson\u003C\u002Fem>\u003C\u002Fli>\n\u003Cli>Jack in \u003Cem>Lipstick\u003C\u002Fem>\u003C\u002Fli>\n\u003Cli>Orgon in Molière’s \u003Cem>Tartuffe\u003C\u002Fem>\u003C\u002Fli>\n\u003Cli>Strandzhata in \u003Cem>The Émigrés\u003C\u002Fem>, based on the work by Ivan Vazov\u003C\u002Fli>\n\u003Cli>Zahari Stoyanov in \u003Cem>The Poet’s Spirit\u003C\u002Fem> by Stefan Tsanev\u003C\u002Fli>\n\u003Cli>Father Krastyo in \u003Cem>Repentance\u003C\u002Fem>, based on the work by Konstantin Iliev\u003C\u002Fli>\n\u003Cli>Father Stayko in \u003Cem>The Fortune-Teller\u003C\u002Fem> by St. L. Kostov\u003C\u002Fli>\n\u003Cli>Sebastokrator Alexander in \u003Cem>John, the Son of Asen\u003C\u002Fem> by Ivan Mitev\u003C\u002Fli>\n\u003Cli>The Father in \u003Cem>Caught.net\u003C\u002Fem> by Ray Cooney\u003C\u002Fli>\n\u003Cli>Margelak in \u003Cem>The Geraks\u003C\u002Fem>, based on the work by Elin Pelin\u003C\u002Fli>\n\u003Cli>The Priest in \u003Cem>We’re Not Like Them\u003C\u002Fem>, based on the stories by Chudomir\u003C\u002Fli>\n\u003Cli>Don Celentano in \u003Cem>The Servant of Two Masters\u003C\u002Fem>, based on the work by Carlo Goldoni\u003C\u002Fli>\n\u003C\u002Ful>\n\u003Cp>In 1998, following the closure of the Drama Department at the Veliko Tarnovo Theatre, Ivan Mitev founded the independent theatre company \u003Cem>Theatre Company\u003C\u002Fem>. This initiative enabled him to retain part of the acting ensemble until the Drama Department was reinstated. The company operated until 2003, staging more than 280 performances across Bulgaria over five seasons.\u003C\u002Fp>\n\u003Cp>Alongside his acting career, Ivan Mitev has pursued an active creative path as a writer, playwright, director and researcher of theatre history. He has authored numerous stage adaptations and theatrical reconstructions, as well as four plays.\u003C\u002Fp>\n\u003Cp>His published books include \u003Cem>The Theatre Called “Nadezhda”\u003C\u002Fem>, \u003Cem>Chronicles of a Theatrical Century\u003C\u002Fem>, \u003Cem>The Theatre Called Kisimov\u003C\u002Fem>, \u003Cem>Theatrical Moments from Eternity\u003C\u002Fem> and \u003Cem>Random Scribblings\u003C\u002Fem>.\u003C\u002Fp>\n\u003Cp>A significant part of his work has been devoted to preserving the history of the Musical Dramatic Theatre “Konstantin Kisimov”. He has restored and digitised the theatre’s extensive archive, which contains more than 50,000 photographs, portraits and facsimiles, hundreds of playbills, posters and programmes, as well as many hours of interviews with veteran theatre artists.\u003C\u002Fp>\n\u003Cp>Ivan Mitev is also a guitarist and singer, a creator and performer of humorous sketches and monologues, and a director of variety shows. He has received national and international awards for spoken-word performance in the professional acting category.\u003C\u002Fp>\n\u003Cp>His artistic career also includes appearances in approximately 15 film and television productions. Among his screen roles are Bishop Paisiy in \u003Cem>Deacon Ignatius\u003C\u002Fem> and Colonel Marin in \u003Cem>A Hand’s Breadth from the Ground\u003C\u002Fem>, both directed by Maksim Genchev.\u003C\u002Fp>\n\u003Cp>In 2017, he received the “Culture” Award of Veliko Tarnovo in recognition of his contribution to the city’s cultural and theatrical life.\u003C\u002Fp>",{"docs":20,"hasNextPage":6},[21,31],{"id":22,"name":23,"slug":24,"posterImage":25},13,"The Cherry Orchard","the-cherry-orchard",{"id":26,"title":9,"description":9,"alt":27,"url":28,"width":29,"height":30,"sizes":9},1,"cherry-orchard-poster","\u002Fapi\u002Fmedia\u002Ffile\u002Fcherry-orchard-poster.jpg",1920,2716,{"id":32,"name":33,"slug":34,"posterImage":35},7,"The Land of Smiles","the-land-of-smiles",{"id":36,"title":9,"description":9,"alt":9,"url":37,"width":38,"height":39,"sizes":9},47,"\u002Fapi\u002Fmedia\u002Ffile\u002F1280%D1%851920sss.jpg",800,1200,[],[]]