"The meaning of the theatrical and the cinematographic in this performance is complicated from a purely human point of view. Theatricality stands for the "passion for the mask", man's desire to pretend he is something else, to discover his own experiences through somebody else's plot which is seen as reality. (...) The cinematographic is in the attempt to document the transformation, to find its shape, to visualize it. It is in this aspect that Todor Kolev and Aneta Sotirova build their characters with trust in the psychological manner of performance, though elapsing into moments of alienation at times. The melodramatic experience is subject to the actors' research and it is performed without any irony whatsoever. (...) That is the mask which the crew has put on willfully to play out their love for the "great illusion".
Assen Terziev, "Literaturen
vestnik", Oct.t '99

 

Love in Madagascar by Peter Turini
director Krikor Azaryan,
set & costumes Maria Dimanova,
music Assen Avramov
premiere 20 October 1999
KRIKOR AZARYAN
 Interview from the programme of the performance, Oct. '99
"I first met Todor when we were both students and I staged for the first time in Bulgaria Mrozek's "In Open Sea". There are two things which have ever since interested me in him - his strange, somewhat upside-down point of view and his capacity to reach the end. There is simply no way for us not to work together in a performance which is at once theatre in film and film in theatre. It is a belated confession in love for the world of illusion..."
  "There is an incredible scene when the two characters are turned on by actually making up the plot for a movie. Outsiders who infuse fresh blood into their lifeless bodies." Dimitar Staikov, "24 Chasa",
Oct. '99