Of course, there are some national theatres whose repertoires are replete with boring, uninventive, same-stuff shows.
Usually national theatres are associated with nurturing a country's national drama.
Do European countries still need national theatres today?
This essay is adapted from National Theatres in a Changing Europe (Palgrave Macmillan, 2008), edited by S.
Such a record is an extraordinary achievement, given the very difficult times for culture on the whole in Bulgaria, and given, too, that (although it has held a venerable position during many periods in its more than 100-year history) the National Theatre couldn't have boasted about playing a leadership role for quite a time before the fall of Communism in 1989.
While most other Bulgarian theatres tried to lure the audience back simply by offering it a new repertoire (plays that were banned or turned away before 1989), along with that the Bulgarian National Theatre focused on painful but much-needed structural reform.
These changes invigorated and rejuvenated the National Theatre, which now has the strongest group of young actors in the country.
IN 1992 AN UNEXPECTED TURN OF EVENTS SUBSTANTIALLY changed the future of the National Theatre.
Despite Morfov's success, the National Theatre held to its successful new formula of a theatre that doesn't want to belong to or be associated with any one director.