It is obvious that such motto focuses on the interrelation between two terms of interest - respectively - the "alive" theatre and the "search" in the field of theatre.
Speaking generally our theatre seems quite exhausted. During the 90s of the XX century it was given the short-term opportunity for overtaking what it had missed in dramaturgy and on stage. And this includes almost all the dramaturgy dating back to the absurdists and after, as well as a multitude of theatrical practices, which till nowadays have remained unknown. After this period of massive invasion on unfamiliar territories, the interest in the alleged direction is beginning to fade out little by little. Besides that, our theatre finds itself in the difficult situation of striving for its own material survival and in a large degree of adjusting itself to the various preferences of the mass audience. While our audience still finds it difficult to accept anything digressing from its traditional assumptions of what good theatre is.
In this very situation of fatigue, namely, I would like us to be reminded that the "alive" theatre is above all a process of search. Having in mind that searching does not necessarily and by any means suggest discovery. Apart from that whether the final result brings us to the perfect performance, apart from the various biases in terms of aesthetics and styles, the search itself evokes anxiety and coming out of the stereotypes, of the known and the convenient. And vice versa - not every search outlines a productive conception for theatre. If by "alive" theatre we should understand creativity in the first place, then we would come across it in the discovery of new texts, new means of expression, new theatrical spaces, ideas for theatre, generic directions, new viewpoints towards theatrical language, new types of relations between theatre and spectator etc. I think that in this very anticipation of such anxiety capable of provoking creative theatrical thought, my own search in the selection will take place.

Ana Topaldjikova