Az, koqto te obicha

About the creative team
The script is by acclaimed Bulgarian playwright Yana Borisova, a multiple Askeer laureate, and the performance is conceived and led on stage by actor Darin Angelov. Director Dimitar Kotzev – Shosho shapes it as a dialogue between theatre and cinema: Angelov performs live while a constellation of screen partners appears in carefully crafted video sequences. Those filmed roles feature Tsvetana Maneva and Yavor Milushev — reunited after half a century — alongside Yulian Vergov, Ana Papadopulu and Daniel Kukushev. The scenographic world is by Irena Doicheva; original music and sound atmosphere are composed by noted jazz pianist Milen Kukosharov. The filmed material is shot by cinematographer Aleksandar Stanishev and edited by Zornitsa Kotseva.

What you’ll experience in the hall
A one-actor performance that never feels solitary. The projected characters are not background decoration; they challenge, seduce and corner the protagonist, changing the temperature of the room in seconds. Kotzev – Shosho’s hybrid approach adds the precision of the close-up to the risk of live acting, so comedy lands crisp, while painful realizations register with camera-level intimacy. Kukosharov’s score slips from tender piano to a pulse that suggests marching feet, keeping the emotional stakes high without melodrama.

Story focus, without spoilers
Set in a European metropolis under conscription, the plot follows a young man who adopts a female identity, Bella, to survive. The disguise begins as strategy; it soon exposes fissures in how we assign value, courage and love. Expect sharp writing, flashes of gallows humor and a central performance that toggles between vulnerability and bravado as quickly as a heartbeat.

Milestones
The premiere took place on November 4, 2025 at Theatro otsam kanala in Sofia and was greeted with a prolonged standing ovation. Since then the production has toured nationally and has been presented within festival programming, drawing audiences who rarely overlap: literature lovers for Borisova’s language, cinephiles for the visual grammar, and theatre-goers for Angelov’s physical precision.

Who will particularly enjoy it

• Spectators interested in contemporary Bulgarian writing with international bite.
• Fans of hybrid stage/film formats and character studies anchored by a single actor.
• Viewers curious about how identity is performed — and at what cost — when society is under pressure.

If you’re exploring more contemporary stage titles with sharp humor and big feelings, you may also like Vsicho tova e tya and the romantic satire Lyubov po scenariy v HOLLYWOOD. For a twist of absurdity, try Idiotyt zvyni vinagi tri pyti.