The feedback I miss in Bulgaria or my experience as a jury member in Serbia
At the end of March (27–31 March), the town of Ruma, Serbia, once again became a hub for contemporary theatre during the 28th edition of the Art Trema Fest. Despite the social tension caused by ongoing protests and the serious financial difficulties resulting from them, the organizers managed to carry out the full festival program—a kind of cultural protest in the name of art.
Over the five festival days, ten theatre productions from the region were presented, including two Bulgarian contributions: For Love and Everything Else by Yana Borisova (a one-woman show directed by Ivan Todorov) and Silent Technicians and In Her Voice by Kosta Karakasyan. The Bulgarian participation was a clear sign of the need for cultural exchange and of the opportunities available to Bulgarian artists on the international stage, especially given the somewhat isolated environment in which they work.
Kosta Karakasyan’s productions, staged in the theatre foyer, were deservedly highly praised for their originality, depth, and stage energy, earning him a total of five awards.
Looking at the theatre landscape of the region, one can observe a contemporary approach, often with a performative character and a pronounced social sensitivity.
The production Hamlet Party: The Art of Mastering Yourself by the National Theatre “Sterija” from Vršac is a good example of the pursuit to break away from conventional storytelling. The first part, staged in a classical form, was complemented by a second part performed in the foyer as a site-specific action. This dual approach suggests an expansion of the boundaries of stage space and audience perception. Although the means were not fully realized—likely due to limited experience—the production left an impression with its conceptual coherence and stage engagement.
The multimedia production She. Ahead of Her Time by the independent theatre D.A.H. from Belgrade also left a strong impression—an emotionally and visually powerful performance dedicated to remarkable yet forgotten women in Serbian history, whose development was hindered by systemic sexism. This original stage installation combines live performance, exhibition, video works, photography, and spatial installations, bringing together artists from various disciplines—a ballerina, a pianist, a poet, actresses—into a vivid, politically engaged, and aesthetically charged experience.
Mature acting minimalism and mastery were demonstrated by Dražen Šivak from Croatia in the lecture-performance MASKS. With exceptional attention to nuance and transformation, he showcased pure performance while exploring the richness of behavior behind different masks.
Over the years, our organization SPAM STUDIOS has participated in the festival three times. Two of these participations were marked by recognition: awards for best production, directing, best actor (Vasil Duev), and the audience award for the solo performance Everything on the Table based on Charles Bukowski, as well as best actress for Martina Peneva with I Won. Yet this presence is not merely a statistic or a reason for self-praise – it is part of the active cultural dialogue that the festival skillfully fosters over the years. I hope this encourages more Bulgarian artists to apply, provided they wish to engage in a genuinely open and professional discussion about their work.
What has drawn us back to apply again and again is precisely the feedback after each performance. Art Trema Fest stands out for this special quality, rarely found in other festival formats – the open and in-depth discussion between artists, audiences, and jury following each show. This feedback process creates space for reflection, professional analysis, and inspiration. It is this form of dialogue that makes the festival so valuable – it doesn’t merely present theatre, it develops it.
What was particularly meaningful for me this year was that, as part of the jury, I had the privilege of being alongside the great Bosnian actor Zijah Sokolović – an artist whom Bulgarian creators had the chance to meet in Sofia during the creative workshop organized by SPAM STUDIOS in partnership with the Ivan Vazov National Theatre. Meeting him – both at the festival and in Sofia – was a reminder of how important the living connection between generations is, of sharing experience and perspectives.
At a time when culture is often pushed to the background, such formats, meetings, and events are not merely needed – they are vital. And if there is one thing I would hope other festival organizers in Bulgaria would adopt, it is precisely this model of open conversation and sharing.
The lack of an active critical scene in Bulgaria reminds me of a certain closedness and internal division – a mechanism that inadvertently limits the development of artists and slows cultural exchange. In this context, I believe that criticism can play a constructive role – not as a form of confrontation, but as an opportunity for openness, dialogue, and shared growth.