The performance "Geometry of the soul" was a magical journey through the thoughts of a young artist, magical and sublime, completely gentle, at once witty, completely poetic, above all healing and finally cathartic. We attended a real artistic act, unpretentious, but significant in the European framework. It was a thrilling measurement of the immeasurable and a true taming of the untamed. An epiphany that was greeted with a standing ovation.
The performer and author of the idea for this play, Alek Ćurčić, who was educated in Bulgaria, where he studied puppetry, while today he lives and creates in Gijon, Spain, was the absolute star of the evening among the audience.
What kind of mental preparation is required for this performance? We heard during the conversation with the participants of the Drama Studio that it takes seven hours to set it up. It takes so long to arrange all its elements, and does it need another seven hours to get it right in the head?
It's not easy. It is a rare occasion when we can have a day before in some theater to set everything up. Apart from physical time, I need to prepare mentally. With time I learned to adjust so it gets easier. In performances like this one, you can clearly see when you are not prepared. Something small is enough to go wrong and it's not the feeling that the audience should actually have. If you are tired, ok, you perform, but you are not completely there. If you don't have time to rest before the performance, to arrange your thoughts, you push yourself, you force yourself to do everything you need to do, but in the end it doesn't go very well. People may enjoy it, because they don't know the true potential of the play, but I do, and that's why it's important to calm down fifteen minutes before the performance, to be calm.
You measured the soul with objects on stage. And man has a soul, which, admittedly, he loses more and more. Is there anything that could prevent, or at least slow down the process?
Yes, we are losing our soul. And that is one of the reasons why "Geometry of the Soul" was created and how it was created. I noticed that people don't think about details, about small, tiny things, movements... People do something big and visible, but they don't pay attention to what else is there. They just don’t connect in any segment with the little things and I wanted to focus on them. I wanted little things on stage to have meaning and for the audience to see and feel that in every movement. In collaboration with those little things I set in motion on the stage I tried to find the soul of the audience, feel it and tame it.
When did you realize, at what stage of rehearsals, what age audience is this play for?
We haven't figured it out yet. That range is quite wide, it seems to me. We put it as eight to nine years old, but once we were at a festival back in Spain where it is a tradition to bring very young children to the performances, so we had children as young as two or three years old at one performance. They watched it with interest, they were calm and attentive, however, I think it would be good that "Geometry of the Soul" is watched by those who have an idea of what geometry is.