Alexander Morfov theatre director Bulgaria official website Александър Морфов официален сайт Александр Морфов официальный сайт режиссер Болгария Сашо Морфов личен сайт
Morfov official | photo: DErmenkov
BG | EN
theatre & cinema director
Morfov on his work in Gesher Theatre
Inteview by A. Tsvetkov, 2012, Tel Aviv, Israel
I. L. Caragiale National Theatre, Bucharest
6 Nov, Ivan Vazov National Theatre, Bulgaria
7 Nov, NT I. L. Caragiale, Bucharest, Romania
10 Nov, Et Cetera Teatre, Moscow
11 Nov, Macedonian National Theatre, Skopje
From the beginning of the present season Alexander Morfov's production "The Lion in Winter" staged at Dailes Teatris in Riga is presented with English translation. Surtitles will help all foreign visitors of the capital, theatre audience and Morfov admirers fully enjoy the show. Next date: 1st Nov.
Online sale of tickets here.
Tonight Morfov's latest production will be presented at the I. L. Caragiale National Theatre of Romania as part of the 29th edition of the theatre's recognised National Theatre Festival. For the past years Alexander Morfov's productions have been a cherished part of the festival's programme as in 2017 his "No Man's Land" was also enrolled.
Shakespeare's masterpiece in the hands of Alexander Morfov - could there be a better way to celebrate the beginning of a theatre season? Morfov's fourth production on the stage of the I. L. Caragiale National Theatre is here to thrill Bucharest audience. [...]
"[It] takes not simply an extraordinary directing mastery to bring "The Tempest" to life on stage, but also a certain worldview and intellectual basis, as well as bravery and even adventurousness. [...] Alexander Morfov has presented to the world not Shakespeare – a new one or an unknown one, in prose or in deep philosophy, but himself – unrestrainable in his fantasy and endless in the invention of gags and building of stage techniques; along with that, he has revealed a form of theatrical existence which had been so far unknown to Russian stage – one pierced by city square celebration spirit on one hand, and by Balkan eccentricity on the other. [...]
Morfov’s liberty is revealed in the enrichment of the stage material, in searching and finding the exact instruments (during the working process, at that) which will beautify and animate the text of the play on stage. [...] The ambiguous world, the interpenetration and interlacement of fantasy and reality – proposed by Shakespeare, have permitted Morfov a fullpower outburst of stage director’s fantasy. There is hardly any other Shakespearean staging competeable with Morfov’s "The Tempest" in terms of number of gags and overwhelming density of comic touches. The fruits of the shared fantasising of director and actors are revealed in the form of an endless kaleidoscope of unimaginable tricks where expressiveness and saturated visual dynamics cast a shadow upon everything else."
~ excerpts from Ilya Proklov's review
Alexander Morfov's Productions in Russia
State Institute of Culture, Moscow, 2015
* Komissarzhevskaya's "The Tempest"
has more than 300 performances so far
and is entering its 20-th year of stage life
6 March 2012
Ivan Vazov National Theatre
Semyon Semyonich Podsekalnikov is an ordinary man fighting life's difficulties as best as he can. Unfortunately, he is jobless and moneyless. He shares a household with his wife and her mother and conflicts are often. Semyon has a dream of which his wife and to some extent his mother-in-law are supportive - he wants to learn to play the tuba. This dream is a promise of a better life, full of money, fame and happiness, but most importantly - a life that will permit him to take good care of his family. His wife manages to find an instrument but training requires money. The prohibiting price of becoming a professional tuba player throws him back to severe depression and Semyon decidedly attempts suicide. Until...
"Morfov pertains this huge gift (and taste) for magic. It is understandable that among his major contributions to our theatre (with congenital tendency towards didactics) is that Morfov freed it from all bias against spectacularity, towards the completely reachable balance between richness and philosophy."
~ K. Stefanova, liternet.bg, 2012