Ivan Vazov National Theatre mainstay, Miroslav Angelov, is finding a new rhythm in intimate performance spaces. Having recently transitioned from the grand stages of the National Theatre to the more contained setting of Viola Theatre, Angelov spoke with Novinky.cz about the challenges and rewards of adapting to a different scale of storytelling.
Viola Theatre distinguishes itself by offering a uniquely close experience for audiences, with patrons seated at tables, often enjoying drinks during performances. Angelov is currently appearing in “Jana bude brzy sbírat lipový květ” (Jana will soon gather linden blossom), an adaptation of a poetry collection by Miloš Doležal, a work dedicated to his late wife. He described a palpable shift in audience behavior, noting a remarkable stillness and focus during performances. “Once we begin, the clinking of glasses stops, people barely drink for an hour. You can feel the silence and concentration from the audience, which is quite rare these days,” he said.
The shift to a smaller venue isn’t unfamiliar territory for Angelov, who began his career in a traveling theatre company. He’s performed in other smaller spaces like Rubín and Řeznická, appreciating the need for adaptability. “I like variety, it keeps you from stagnating. You constantly have to adjust to the space and it’s actually refreshing,” he explained. He emphasized the importance of occasionally stepping outside of one’s comfort zone, both for the performer and the audience.
Angelov’s performance in “Jana bude brzy sbírat lipový květ” has been noted for its quiet intensity, a departure from some of his more well-known roles. He welcomes the opportunity to surprise audiences and challenge expectations. “If we manage to surprise the audience – and ideally in a pleasant way – then we’ve accomplished our task. The gift they symbolically unwrap in the theatre, they take with them,” he stated. He expressed a preference for audiences who come with an open mind, rather than those seeking a predictable experience.
The actor believes the National Theatre is also evolving, with directors willing to take risks and challenge conventions. “National Theatre shouldn’t be a museum. When you come here, it shouldn’t just confirm what you already think. It should shake you up a bit, push you, sometimes even annoy you. Otherwise, it’s pointless,” he said.
Angelov’s decision to leave the National Theatre last year was a deliberate one, driven by a desire for greater artistic control. He acknowledged the respect he holds for the institution but felt a need to move beyond a system he described as rigid. He cited concerns about the theatre’s operational structure – three buildings, three companies, and fixed employment contracts – as contributing factors. He also expressed a desire to have more agency in choosing his roles.
He contrasted this with a more flexible, European model of repertory theatre, where performances are grouped together and actors aren’t bound by long-term contracts. He recalled a period under the artistic direction of Daniela Špinar where block scheduling was implemented, leading to greater focus and virtuosity. Angelov’s departure was, in part, a response to a return to the previous system.
Beyond his professional life, Angelov spoke candidly about navigating personal relationships and co-parenting with three former partners, resulting in four children. He emphasized the importance of respect and maintaining positive relationships for the sake of the children. “We help each other when needed, we accommodate each other, we meet on important occasions, birthdays, holidays, Christmas. We laugh about shared experiences we had together,” he said.
He acknowledged the complexities of modern relationships, but stressed the value of maintaining a civil and supportive connection with former partners. He also shared his joy in being a grandfather to two granddaughters, Sofia and Stella, who currently reside in Berlin.
Angelov reflected on his approach to parenting, noting a shift from a more controlling style to one that prioritizes trust and allowing his children to discover their own passions. He cited his son Ben’s self-taught English skills, acquired through gaming and online content, as an example of the benefits of allowing children to pursue their interests independently.
He also touched upon the importance of mental health, sharing his experience with therapy and encouraging others to seek help when needed. He described a period of anxiety and self-doubt following the COVID-19 pandemic, and how therapy helped him to accept imperfection and manage his anxieties. He recounted an experience where sharing his struggles with obsessive-compulsive tendencies resonated with a stranger, who credited his openness with inspiring them to seek help and save their marriage.
Angelov believes that vulnerability and openness are crucial for breaking down stigmas surrounding mental health. He emphasized the importance of recognizing that emotional wounds can be as debilitating as physical ones. He also expressed a hope that the National Theatre continues to embrace change and challenge expectations, remaining a vibrant and relevant cultural institution.
He concluded by acknowledging the ever-changing nature of the world and the importance of remaining curious and adaptable. “The world is changing, and People can change with it,” he said.
