Theatre of Miracles by Ani Vaseva

Because in theatre thought and touch are miraculous, the plural is possible in the singular, because in theatre both time and space become plural and reveal themselves as plural.
Because in theatre we understand the instability of the world – through our body with all its parts, including the mind.
Because in theatre friendship is fleeting but real, because communication is as inevitable as solitude.
Because in theatre you need to enter with love and friendship. In theatre you cannot help but love those you work with. Love without obligation (but obligatory), without horizon; love that doesn’t bind you outside the boundaries of theatre, but that absolutely obliges you within it. Theatre is absolute fleeting love.
Because theatre lives between repetition and difference, between work and pleasure (where work is a pleasure). In theatre, repetition doesn’t kill freedom, it gives birth to the possibility of freedom. Theatre requires virtuosity. Pleasure and technique, the pleasure of technique.
Metheor’s theatre is a theatre of miracles.

Ani Vaseva, Theatre of Miracles. Prologue

Theatre of Miracles is neither an apologia for, nor a paean to, theatre; nor is it an allegory of life called “theatre”. This book with a protean genre – it is not simply a manifesto, a theoretical reflection or personal recapitulation, but all of these at once – effects a transformation of experience; thus experience-theatre evolves into a philosophy. But also into a sharing of experience in which the distinction between object and subject wavers, engendering hesitation and indistinguishability; it is like a membrane, like a front through which flit will-o’-the-wisps, unhidden passions and innermost secrets

Boyan Manchev