Renowned actor John Malkovich is directing George Bernard Shaw’s comedy “Arms and the Man” in Sofia, Bulgaria, which has ignited controversy due to nationalist protests demanding his deportation. The play, criticized for mocking Bulgaria’s history, proceeded with an empty audience amid heightened security concerns. The nationalistic climate in Bulgaria is intensifying, influenced by recent political shifts and historical disputes, particularly with North Macedonia. Malkovich, who has ties to the region, aims to collaborate with local artists rather than ridicule Bulgaria.
When a renowned artist decides to stage a production in the small nation of Bulgaria, it marks a significant milestone for the local cultural landscape. Currently, acclaimed American actor John Malkovich is at the helm of directing George Bernard Shaw’s comedy “Arms and the Man” at Sofia’s National Theater. However, the much-anticipated premiere this Thursday has sparked considerable controversy.
Security Forces Under Fire
Nationalist groups obstructed theatergoers from entering the historic venue, escalating demands for Malkovich’s deportation. The play, titled “Helden” in its German rendition, features a Swiss mercenary in a prominent role and has been criticized for allegedly ridiculing Bulgaria’s illustrious past.
In a bid to engage with the protesters, the theater director faced physical confrontations. Ultimately, the performance proceeded before an empty auditorium and was live-streamed on television.
Due to the lack of safety measures for the event, calls for the resignation of Interior Minister Atanas Ilkow have intensified, especially given the heated discussions surrounding the production in recent days.
Historical Context of the Play
“Arms and the Man” is set against the backdrop of the Serbo-Bulgarian War of 1885, a pivotal moment during Bulgaria’s unification. At that time, the predominantly Bulgarian province of Eastern Rumelia, which was still under Ottoman control, united with the already independent Principality of Bulgaria.
The Kingdom of Serbia, competing for influence in the Balkans, declared war on Bulgaria in response to its rising power. Caught unprepared, Bulgaria had stationed most of its military along the Ottoman border. Nevertheless, the Bulgarian forces successfully halted the Serbian advance at the Battle of Slivnitsa within weeks and subsequently invaded Serbia. The conflict concluded with the Treaty of Bucharest in 1886, which recognized Bulgarian unification without altering territorial boundaries.
For Shaw, the political backdrop was secondary when he penned the play shortly after the peace treaty, premiering it in London in 1894. He primarily utilized the conflict between two minor nations as a commentary on the absurdity of war, which ultimately resulted in a return to the status quo.
Central to the storyline is Captain Bluntschli, a Swiss mercenary fighting for Serbia, who finds refuge in the home of Raina after the Serbian defeat at Slivnitsa. Raina’s fiancé, Sergius, is revealed to be a Bulgarian officer who had previously faced Bluntschli on the battlefield.
While Bulgarian soldiers are driven by heroic ideals, Bluntschli views war as merely a profession, referring to Sergius as a fool for his reckless bravado. “The primary duty of a soldier is to survive,” Bluntschli argues, favoring chocolate over ammunition in his supplies. Through a series of unexpected events, Bluntschli ends up with Raina, while Sergius finds himself with her maid.
“Arms and the Man” stands as one of Shaw’s most celebrated works, inspiring numerous adaptations, including the German film “Helden,” which featured Liselotte Pulver as Raina and was nominated for an Oscar in 1959. In the 1970s, Udo Jürgens created a musical titled “Helden, Helden,” and a 1986 Swiss television adaptation starred Emil Steinberger as Captain Bluntschli.
The Nationalist Climate in Bulgaria
The nationalist sentiment appears to be gaining momentum in Bulgaria, as evidenced by the presence of former right-wing parliament members among the demonstrators at the National Theater. This ultra-nationalist, pro-Russian party is capitalizing on the ongoing political turmoil in Bulgaria.
In recent parliamentary elections, this party emerged as the third-largest force, securing 12.9 percent of the vote. Party leader Kostadin Kostadinow has connected the protests to the electoral landscape, framing it as a setback for liberal forces in the country.
Even as provocateurs from the right instigate these tensions, the unfolding events highlight the volatile nature of historical disputes in Bulgaria. The writers’ association has also joined the chorus of criticism directed at Malkovich’s production.
Current tensions are further fueled by Bulgaria’s blockade of EU accession talks for neighboring North Macedonia, stemming from conflicting interpretations of 19th-century history. Bulgarians accuse their Macedonian counterparts of appropriating their historical narrative, particularly regarding figures celebrated for resisting Ottoman domination, which both nations claim as their own. Additionally, the dismantling of a Soviet war memorial in Sofia last year sparked significant domestic political debates.
Malkovich’s Connection to the Region
This is not John Malkovich’s inaugural engagement with the National Theater in Sofia. He previously participated in a play by French playwright Bernard-Marie Koltès last year, a production that drew attention for its steep ticket prices.
With Croatian roots, Malkovich identifies as a “son of the Balkans” and has been actively involved in the region. In Skopje, North Macedonia, he has supported the establishment of film studios. Leading up to the Sofia premiere, he emphasized that his intentions were not to mock Bulgaria but rather to collaborate with the many talented Bulgarian artists he respects.