premier, Skopje MACEDONIA


“Dracula… An attack on all senses! How else could we describe what went on the stage of MOB on Friday?”


“For the first time in the history of George Enescu Festival a show with live broadcast at the Grand Cinema Digiplex.”


For the making of this play, Dracula, both choreographers Claudia Martins and Rafael Carriço drew upon an extraordinary wealth of sources, besides the literary masterpiece with the same title by Bram Stoker, written at turn-of-the century, late-Victorian Britain. Newly created characters and others such as Baroness Bathory, further legendary tales, myths and fears that still haunt us today, they all served as mottos for their enormous creativity. Moreover, all these features share a cunningly sown thread, which lead audiences to the fabulous and utterly enigmatic world of horror.

The beginning of the play is rife with highly suggestive ideas taken from the novel’s original course of action entangled with new and renewed ideas, which mysteriously swerve from it. Also, through the exploration of new languages, it conveys a mystical atmosphere of suffering, hallucination, fury and loss.

Ever since the prince, Count Dracula, absented himself to the war, Princess Elisabeth’s sleeping was so vastly tormented by dreadful nightmares of terror and blood that she threw herself into the river. Her death caused him sincerely and profoundly heartfelt grieving and made him feel hungry for vengeance. The gentleman who once had great capacity for loving turned himself into a vampire of darkness: “I seek neither youth nor glee, nor even the voluptuousness of the shining sun and the babbling brooks which are pure delight for the young and fortunate”. [Dracula]

As the plot of the play unfolds, Dracula becomes an essentially manifold character bearing different forms, changing faces, turning himself into various animals and growing into different body shapes which are nonetheless present in Today’s world. Thus, the essence of that evil being, alongside that of many other characters, is brought into contemporary life through a critically contextualized exploitation of many sorts which seek to portray the many ways through which both the lurid dark and sensuously perverted sides of the self, or even pure love turned into tragedy may awfully overwhelm us. We are all volatile beings, nourished by blood flowing through the veins of our own selves. We may, of course, be easygoing, but we are also often very complex and difficult to comprehend…Men and women are flesh and blood, which entwine and indulge in games of domination versus submission… «Her wonderful, bright colors became livid and pale, her eyes seemed to give out a spark of hellish fire, her forehead wrinkled as if her bending flesh was Medusa’s bunch of snakes, and her rosy adorable lips, now stained with blood, became a wide-open square, like the choleric masks of the Greeks and Japanese.» (Dr. Seward, the asylum psychiatrist on half-dead/half- alive Lucy)

Our substance is flesh brutally blooded and nourished by the essence of each of us. Essentially, we are neither pure souls, nor do-gooders every day. Flesh is part of our own nature, and our greatest weakness too. Rotten by fear, we succumb to facile temptation, as often as not much too facile…