Adults are not the first time trying to understand what troubled 15-year-old. This question was asked by German playwright Frank Wedekind in 1891, which in the XX and XXI centuries, all beckoning to be touched. The authors of the idea of a new staging of “spring Awakening” Eugene Zlobinskii and the Director of the play, Matteo Spiazzi took the original German text and translated it again: Fedor Sologub’s translation seemed to them too archaic. Then the new version ran it through the millstone of the realities of the second Millennium-handed actors, smartphones, and spectators asked to leave the gadget in his hands.
Spring awakening as soon as you sit down on a chair. This is not the performance, starting with a stern voice asks to switch off mobile phones and remove them far away. They are part of the performance.
— are you on Instagram? — I asked the actor mark in the industry.
— Who is now missing — I spit at him.
— And how to find you? I have very few friends… my name is Moritz.
after a moment, appears on the scene, two more people, and also with phones. Spectators please point the camera at the QR code displayed on the three-meter panel. The iPhone reads cryptocode and issues question: is it possible to suppress your true nature? We must answer: Yes or no. 30 minutes later there is another: your nature and society compatible? And last: is it possible to survive?
Three questions, three vectors of narrative, three teenagers. Moritz (mark Vdovin), Melchior (Basil Brichenko) and Wendla (Elena Dementieva) — the teenagers of generation Z, born with smartphones in their hands. Each of them covers a flurry of unknown emotions: the boys Wake up from erotic dreams and sexual arousal, girls looking for ways of self-expression, but how about a wall beat against parental conservatism.
Psychologists believe adolescence is the peak point of emotional exposure. You are overcome with feelings, you don’t know what it is… Not sick are you? The only way to communicate with parents and with the same as you. The creators of the show almost takes away from the characters their voices. All by myselfth secret they say in chats and video calls. “You beat dad?” — asks Wendla a girlfriend during the video training for smoky eyes. “Only when I have done something terrible,” unsubscribe her girl.
When Wendla trying desperately to get through to her mother for the personal audience gets dry: “to have children, you have to have a husband! You have to love the way I can’t love at 15. Only then will the children. Satisfied?” Computer voice of Alice, the voice assistant Google enhances not only wrenched from the mother’s recognition, but also the realization that Wendla not just asked about the children. In her emerging life after a night of partying.
the scenography of the performance is minimized to the earthen floor — the metaphor natural shape of a man, translucent and three-meter wall — the symbol of the new technological time in stupid conversations about feelings. The actors are almost never released from the hand phone, sometimes replacing them with fluorescent lamps to illuminate a particular mise EN scene.
the Play is knowingly defined by the author as a “children’s tragedy”. Two characters commit suicide. So would the third, if I did not help him either God, or the voice of reason, whether banal fear of the unknown.
the Creators of “awakening of spring” I hope that their target audience will be teenagers. But no matter how relevant it may seem a piece of her advanced age does not reflect the thoughts of a modern 15-year-old. It describes Teens like cardboard Europe. Generation Z is well-versed in the information field, they are much more sexually liberated, and to save them you need not fear in front of him, and the desire to experience everything in the world.