For the second consecutive year in Bulgaria!<\/p>\n
This year’s festival was built around the relationship between:<\/p>\n
EX MACHINA: ACADEMIA continued the festival’s international mission of exploring the role of ancient theatre in the modern world. Following the partnership agreement signed with the National Academy for Theatre and Film Arts (NATFA), the festival was followed by the Academy’s first seminar on Ancient Theatre for its students.<\/p>\n
The highlight of the programme was “Phaedo” after Plato<\/strong>, directed by Kris Sharkov<\/strong>, a production supported by the Sofia Municipality’s Culture Programme. The performance brings Plato’s philosophical ideas to the stage while exploring their contemporary relevance.<\/p>\n The dramaturgy was created by Stanislava Kirilova<\/strong> and Radoslav Iliev<\/strong>, with scenography by Ilina Grozeva<\/strong>, music by Hristo Namliev<\/strong>, and acting coaching by Elly Kiril Koleva<\/strong>.<\/p>\n The festival programme also featured:<\/p>\n Following the performances, the festival jury presented its awards, and the evening concluded with a wine tasting organised with the support of the Balkan International Wine Competition.<\/p>\n On 3 May<\/strong>, EX MACHINA: ACADEMIA continued with the interactive semiotic game “Urban Labyrinth”<\/strong>, held throughout Plovdiv’s Old Town, encouraging participants to explore the city’s architectural and urban symbols.<\/p>\n The full programme was available on our website and social media channels.<\/p>\n The festival brought together youth theatre productions from Bulgaria, Italy, and Greece<\/strong>, presenting diverse interpretations of ancient texts and ideas.<\/p>\n Inspired by Plato’s Phaedo<\/em>, the production offers a contemporary theatrical interpretation of the themes of the soul, death, and truth, placing them in dialogue with modern philosophical thought.<\/p>\n A central Chorus of Cynics, influenced by Michel Foucault’s ideas and the metaphor of the Panopticon, introduces a critical perspective that challenges the notion of absolute knowledge. Within this theatrical world, Socrates’ certainty about the immortality of the soul confronts contemporary relativism, where truth is constantly monitored, fragmented, and rewritten.<\/p>\n The performance creates a powerful tension between the philosophical clarity of antiquity and the fragmented consciousness of the modern individual, transforming dialogue into a space of doubt, control, and inner freedom.<\/p>\n Created with the support of the Sofia Municipality’s Culture Programme<\/strong>, Phaedo after Plato<\/em> later travelled to Sicily<\/strong> with the support of the Mobility Programme of the National Culture Fund of Bulgaria<\/strong>, where it was presented at the International Festival of Ancient Theatre<\/strong>.<\/p>\n In a symbolic return to the lands of Magna Graecia<\/strong>, Plato’s philosophical dialogue was brought back to the shores of Syracuse and Catania<\/strong>, where it was performed in one of Sicily’s most remarkable ancient theatres. The production united Bulgarian text, Ancient Greek ideas, an Italian libretto, and the timeless setting of a historic classical stage, creating a dialogue between ancient tradition and contemporary theatrical aesthetics.<\/p>\n Created by students from Liceo “L. Pepe \u2013 A. Calamo”<\/strong> in Ostuni, Italy, this production serves as a bridge between ancient tragedy and Renaissance philosophical irony. Combining texts by Euripides and Erasmus of Rotterdam, it reimagines classical mythology through a contemporary theatrical language.<\/p>\n Here, madness is not merely a pathological condition but an existential category that exposes the limits of reason and morality. Inspired by Hippolytus<\/em>, Heracles<\/em>, Medea<\/em>, and The Bacchae<\/em>, the characters embody destructive passion, divine intervention, and human vulnerability, while Erasmus’ irony questions the very concept of rationality.<\/p>\n The production balances tragedy and satire, fate and critical reflection, presenting madness as a path to knowledge that reveals social conventions, religious dogmas, and human self-deception. Ancient myths become mirrors of today’s moral, cultural, and identity crises, creating an intellectually and emotionally engaging theatrical experience.<\/p>\n Created by students of the National High School for Stage and Screen Arts in Plovdiv, this production draws inspiration from the myth of Prometheus, combining theatre and dance into a dynamic performance about rebellion, sacrifice, and knowledge.<\/p>\n Following the spirit of Aeschylus’ tragic vision, Prometheus emerges not only as a mythological figure but also as a symbol of humanity’s pursuit of freedom and resistance to authority. Through movement, rhythm, and visual expression, fire becomes both gift and punishment\u2014a metaphor for knowledge and responsibility.<\/p>\n The performance transcends the myth itself, offering a contemporary reflection on the price of progress and the power of individual choice.<\/p>\n Presented by the educational theatre Fun Science<\/strong>, this interactive educational performance forms part of a drama-based learning programme using the Rolling Rolls<\/strong> educational theatre methodology (EdT).<\/p>\n The production offers a contemporary interpretation of the myth of Orpheus and Eurydice through movement, symbolic imagery, and collaborative audience participation. It explores themes of choice, loss, cyclical renewal, and transformation while actively engaging the audience in the interpretative process.<\/p>\n The festival was officially opened by Salvo Pogliese<\/strong>, a senator of the Italian Republic.<\/p>\n This year’s festival jury once again brought together distinguished professionals from the fields of theatre, music, literature, philosophy, culture, and education.<\/p>\n The jury included:<\/p>\n Each juror evaluated the performances from their own professional perspective.<\/p>\n The special guests and jury members also participated in the festival’s accompanying events. Associate Professor Kamelia Spasova<\/strong> and Dimitar Bozhkov<\/strong> took part in a public discussion devoted to Plato, philosophy, and the contemporary significance of the ancient heritage, highlighting the connections between classical thought, education, and today’s cultural life.<\/p>\n EX MACHINA: ACADEMIA is organised by Ancient Theatre “Ognyan Radev”<\/strong> as part of the international network of ancient theatres AMENANOS NOSTOS<\/strong>, together with partners from Bulgaria, Italy, Greece, Spain, and Cyprus<\/strong>.<\/p>\n The festival was held under the patronage of the Regional Centre for the Safeguarding of the Intangible Cultural Heritage in South-Eastern Europe under the auspices of UNESCO<\/strong>, as well as the Embassy of Greece in Bulgaria<\/strong> and the Embassy of Cyprus in Bulgaria<\/strong>.<\/p>\n The event was supported by the Citizen Participation Programme of the Municipality of Plovdiv<\/strong> and the Balkan International Wine Competition<\/strong>.<\/p>\n All festival events were free of charge.<\/p>\n Join us! Spread the word! We look forward to welcoming you again next year! \ud83c\udfad<\/strong><\/p>\n You can support the festival and our work here:<\/p>\n https:\/\/www.paypal.com\/donate\/?hosted_button_id=JPTLSPCBY2W9Y<\/a><\/p>\n\n
Who participated?<\/h2>\n
“Phaedo” after Plato<\/strong> \u2013 Ancient Theatre “Ognyan Radev”<\/h3>\n
“In Praise of Folly” \u2013 Italy<\/h3>\n
“Prometheus” \u2013 Bulgaria<\/h3>\n
“Hades and Persephone” \u2013 Bulgaria<\/h3>\n
Who served on the jury and what role did the special guests play?<\/h2>\n
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Who are we?<\/h2>\n
Official partners<\/h3>\n
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Official media partners<\/h3>\n
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Free Admission<\/h2>\n