The attack with caustic acid against the unionist Konstantina Kuneva (December 2008) inspired the creation of Ruska Ruseva, her dramatic alter ego. A polyphonic raving in a station in Athens.
The "former archaeologist, formerly married and sad woman; the ‘red’ cleaner against the ‘black’ bosses and supervisors” as the heroine in The Yellow Dog introduces herself speaks neither Greek nor Bulgarian, but a language of grand gestures and utopian feelings; she pays attention to the silence of the little things.
Ruska Ruseva is a perpetual crossroads of voices; she acts as a conduit of individual voices and discovers herself through the others, through the bustling crowd and history’s relentless pace. She is a "face of public love" that directly addresses her personal and working time. Hence, the protagonist lays claims to a world of love, through both the policy of the defenseless self and the metaphysics of the non-further one.
The yellow light – that occasionally falls on the stage and carves her narrative up – is the feeling of the surplus, the prolonged, the ‘bombarded’ person who eventually hurtles and surges to the stage flow, reflecting the dystopian reality around us.