The idea for creating the performance “White Nights” was inspired by the need to develop a chamber theatre stage version based on the sentimental novel of the same name by F. M. Dostoevsky, where the main characters, the Dreamer and Nastenka, are archetypes of two artistic dreamer souls.
Trapped by their biographies in their real lives, as it is often called the fateful determination of events, the two meet over the course of several evenings during the white nights in St. Petersburg. During these encounters, the Dreamer, who is a true artist and for whom the world of music is both cradle and ultimate freedom, raises the question of dreaming about life as it should be, in his view. He encourages their shared dreaming with Nastenka, who, due to numerous restrictions throughout her life, feels most free while dancing, especially at the age of 18. The two confide in each other and surrender to dreaming during these meetings, regardless of the complicated circumstances, especially when it comes to love or ideal love.
On the other hand, Dostoevsky himself raises the question: can every person follow their dreams, and do we grant ourselves that freedom and make that choice in order to be free and authentic? Or do we surrender to social norms, stereotypes, moral codes, and civic judgments, where we destroy our own dreams, even sell our love, or become its betrayers, just to fit into socially accepted moral, civic, and cultural standards? By doing so, do we unknowingly but tirelessly climb to the heights of the material world, while spiritually and in terms of freedom we remain average and prematurely aged, even in youth, following the path of self-denial and rejection of our true selves?
Both in Dostoevsky’s work and in this performance, we are reminded that only a few people have the courage and opportunity to follow their dreams and ideals, no matter what they are. The role of the Dreamer, the anonymous artist in the performance, is an example of this—even when unrecognized, or simply an ordinary artistic soul, like Nastenka. It is still worth playing that role or dreaming that dream, even if only for a single moment of bliss. That one single moment of happiness and bliss will always shine, and no sorrow, pain, reproach, or anger will ever be able to melt it away.
Most often, however, the artist dreams alone—even if that dream is simply to meet someone.

 Zvezdana Angelovska, Director