— I was interested in the public, because the theatre isn't just an actor or a playwright, it is primarily the audience. In Ukraine, the audience reacts to what is happening on the theatrical stage like something it encounters daily. I watched as people would get up from their seats and approach the stage décor, take a snapshot and then head back to their place. That was unexpected. I hadn't seen it before. In our theatres it's absolutely forbidden to approach the stage like that. The audience is also quite active, showing its attitude but not interfering. On the contrary, if a certain sense of ease prevailed, then the audience assisted the actors maintain it, and kept the play going in that vein.
Koleso is also a boulevard theatre and the rhythm of the actors' work differs from what I'm accustomed to. They're calmer, more deliberate in developing their roles and are developing a bit more slowly and calmly, but the action in this performance is set at a film studio where everything is always jumping and people are rushing back and forth. In the end the actors adapted to the rhythm I required. I had to explain things clearly here that in Bulgaria are taken for granted, and conversely, have things explained to me things that are quite obvious here. But with patience we found common ground and I was able to get done what I wanted.