Bulgarians of Old Times

BULGARIANS OF OLD TIMES An operetta by Asen Karastoyanov, based on the novella of the same name by Lyuben Karavelov

Music: Asen Karastoyanov Libretto: Kosta Raynov Production Version: Mario Nikolov Guest Conductor: Slavil Dimitrov Set Design: Lidiya Karkelanova Choreography: Borislav Angelov, Rumyana Markova

Cast: Viktor Terziyski, Anastasia Piperkova, Ivan Penchev, Milen Ivanov, Valeria Peycheva, Mirela Yabandzhieva / Teodora Petrova, Polina Petkova / Liliya Ilieva-Mihaylova, Velin Mihaylov / Tsvetelin Ilchev, Tsvetomil Yordanov, Georgi Garlanov, Polina Petkova / Petya Popova, Tsvetomira Pencheva, Penka Velichkova, Mariyana Stefanova, Petya Koprinkova, Diana Kyurkchieva, Kiril Armenchev / Nikola Popov, Maya Malakova / Yanitsa Parvanova

With the Orchestra, Chorus and Ballet of the Konstantin Kisimov Music and Drama Theatre

Special Appearance: Iskra Professional Folk Ensemble of the Iskra-1896 Community Cultural Centre, Veliko Tarnovo

In my production of Bulgarians of Old Times, we explore the richness of Bulgarian traditions, everyday life, and collective attitudes, alongside the personalities and mindset of Bulgarians in the period in which the story unfolds. Although the novella reflects nineteenth-century life, I firmly believe that it remains relevant today. The issues raised by the production continue to resonate with contemporary society and invite reflection.

As a director, my aim is to portray this distinctive Bulgarian mentality as vividly and fully as possible, revealing its complexity and many layers. I believe that art should do more than entertain. It should cultivate taste, develop aesthetic judgement and standards of behaviour, reveal both the positive and negative aspects of human nature, and move audiences to reflect on the issues explored in the dramatic text.

The choice to present the work as a musical is deliberate and central to the production’s concept. The genre offers rich opportunities to combine music, spoken dialogue, dance, and stage action, reflecting contemporary international approaches to integrating different performing arts. At the same time, musicals are accessible and engaging for a broad audience. They allow conflicts to unfold dynamically and powerfully, in tune with contemporary sensibilities. This approach will also appeal to younger audiences, for whom a contemporary theatrical language is particularly important.

By immersing audiences in the traditional, patriarchal world of the Bulgarian National Revival, the production seeks above all to encourage them to ask questions. Could these characters actually be “Bulgarians of Modern Times”? Have we overcome the prejudices and character traits exposed in the work that hold back social progress? Are we more tolerant? Can we respect other people’s opinions and set aside our egos for a greater purpose? Are we willing to respect one another and build rather than destroy?

It is in the search for answers to these questions that I find this production’s purpose and contemporary resonance.