It is difficult to talk about Venelin Shurelov in one short paragraph. There is an impossible amount you want to say and list. Countless projects that go beyond standard formats, all collected in many solo and group exhibitions, festivals, installations, videos, animations, awards from around the world and in our country, and last but not least, theater in the form of performances, costumes and scenography.
It is difficult to talk about Venelin Shurelov in one short paragraph. There is an impossible amount you want to say and list. Countless projects that go beyond standard formats, all collected in many solo and group exhibitions, festivals, installations, videos, animations, awards from around the world and in our country, and last but not least, theater in the form of performances, costumes and scenography. A recent production that owes its appearance to his talent and ability to literally and figuratively invent not just an environment, but also thoughts and passions, isThe Night Ship. However, he also told us about his recent work with students in the United States, as well as several other projects that are part of his SubHuman Theater.
What is the most challenging project you worked on last year?
Without a doubt, the Post-Everything project I did at Towson University, USA. I was invited as a guest lecturer for about a month, I worked with six students in an experimental master's program. I encountered exceptional motivation among the students and very good working conditions. The challenge consisted of many things, starting with the unfamiliar environment, the short deadlines, the thousands of unknowns, my directorial position, the responsibility for creating the theme and structure – they had to be both quite definite and meaningful, but at the same time leave room for the creativity of other participants.
What inspires the design of a stage – the text, the director, the characters, the actors, yourself?
Each of these things can inspire you, but also limit you. What makes it to the stage is whatever manages to fight for its right to exist.
What gives you strength and inspiration?
Hiking in the woods gives me strength, and inspiration I think is something that you carry with you everywhere. The little "forest strength" that I manage to build up is in fact a harmonizing force. It helps maintain a balance with the environment and humbles the ego. Sometimes I also find another source of strength. I would call it civilizational. It is activated by feelings of injustice, the desire for compensation, the urge to create, compassion, the pursuit of meaning and self-awareness.
What is something you have a hard time fighting?
Time. I'm putting up an incredible fight, but of course I'm losing.
Is there a play you dream of making?
Honestly, I'm not a huge fan of plays. Good dramatic texts have always seemed to me like works in themselves, enclosed in their own perfect structure. I do not understand the paralyzing fear of thematic production among the majority of directors in Bulgaria.
Who are the people in your field whose work you follow closely?
I would not say I follow them, but I am interested in Jan Fabre, Romeo Castellucci, Rimini Protokoll. However, my real interest has always been in the periphery, not the mainstream. It seems to me that a list of world-unfamous but extremely inspiring authors would be too long for this interview.
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Martian Tabakov, Martin Penev and Andrew Anderson forgive all those who don't get what they're about
