The play opens in the room of a young woman named Raina Petkov in a residential area “near the Dragoman Pass” in Bulgaria. In November 1885, war broke out between the Bulgarian army and its Russian partners, with the addition of Serbian forces. Serbian power incorporates a large number of fighters enlisted from different countries. Depictions of scenes in italics give examples of what remains of the play. Despite the fact, the surveyed crowd contains many unrecognizable details.Only the viewer knows these key points. This, for example, incorporates notes about the psychological state of some characters. The notes describe the style of Rainier’s room as rich, if kitsch to some extent.
Reyna looked out her open window and her mother Katherine Petkov came in and advised Reyna to close her window because it was cold outside. Catherine energizes and delivers the news that the Bulgarian and Russian armies have won an incredible battle at Slivnitsa against the Serbs and their partners. He said he has a responsibility to lead. Raina is thrilled to hear this and is relieved. Raina also pondered whether the fighting men were truly brave, as she had perused Pushkin and Byron. .
Louka, their cleaning expert, came in and in light of the fact that the area had Serbs fleeing, all windows and doorways in the house had to be closed and bolted, and they He says he might try to stow away into his Bulgarian home. Catherine leaves the space to make sure the house is guarded. By the time Katherine is gone, Luca secretly tells Raina that one screen won’t shake properly, allowing Katherine to push open one of the shades, against his desire to stay in tune with the battle. will disclose to Reyna berates Luka for everyone to hear for refusing Katherine’s recommendation. At first, Raina finds this lively, but she soon finds a scattered Serbian army nearby. She heard the awning shake and immediately a man lit a portable fire-stick in the room, advising Reyna to calm down.
The show presents some of the play’s evocative thoughts and issues in this first segment of its first demonstration. One of them is the idea of a “sophisticated” society, or affluent society, and the harsher reality of war. Raina adores Sergius, who is spoken of favorably as the ideal picture for these scenes. In her own home and in her room, Raina thinks she connects Sergius with the legend of battle, she is happy to have her mother Catherine grant this dream of hers.
The show’s staging shows how the depiction of a scene can undermine the activity taking place on stage, and is unmistakable to the gathering of people in the theater. It looks nice, but looks a little shabby on closer inspection, like a stage bearing with a lot of attention to detail. Abundance, then, is not a signal of wealth, but rather of a hunger for more wealth, more “development” than perhaps the family actually has. That it exists in the shadow of all the more socially created nations like the Austrian Empire is also the undercurrent of the play. but these efforts only point to their fear that they aren’t really that cutting edge all things considered.
Equally evident in this arrangement is the family’s dependence on Sergius as a kind of friend in need. If he’s unlikely to be a battle saint, at that point, according to Petkov, he’s even more suited to be Raina’s significant other. It is of paramount importance to her family and even her housekeeper because it conveys Notoriety, honesty, and respect are intricately intertwined throughout the play. Sergius turns out to be much more three-dimensional than his photo in Raina’s room suggests.