the Last shows held against the backdrop of the cold snap and snow storms, and on Monday 16 March 2020, it was decided to interrupt the festival program until better times. But not it combines two performances of St. Petersburg. In them – despite the nomination of Directors emphasized collective writing, in which equal and responsible participation of all its creators. Besides, both of them deployed in the past that suddenly becomes much closer than you can imagine. Finally, immersively has both the ability to pulsate, then involving the audience into the sensory world of the play, then throwing it into the space of imagination and meditation.
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Dmitry Volkostrelov, Ivan Nikolaev and Alena Starostina after researching apocalyptic postсовременности that they were doing it until recently, was invented to recreate the Novgorod birchbark documents, opened half a century ago was a crucial turning point in the study of the history of everyday life of medieval Russia.
Dividing the audience into two unequal groups, the Director offered one to act as performers and the other spectators. Despite the explanations in the headphones and on the screen, both groups face the unknown, trying to give fragments of letters some common sense. The performers via headphones send the instructions to read appearing on the floor of the message of the modern Russian, the language Novgorod letters XII-XV centuries, they are confused, hesitate, stammer, or even abandon reading. Each, however, assigned only the single room of birch bark, so reading over and over again the original, the translation, he gradually becomes “character.” The audience on the other side of the “neutral strip stories” are better equipped – they have no instructions, but there are explanations and translations.
the Action is divided into three “act”. At first the audience is dealing with translation and commentary, the second with the letters in ancient. The third voices of the performers reading recorded in the first step, the translation of the letters, combined with the projected letters on the screen and music “the Well-tempered clavier” by Bach. The “performers” composition looks a bit different, but by the third act everything is equalized in the face of the unknown stream of life. After surviving the difficult process of orientation, to the final reveal extraordinary high level of understanding vague messages. In them – petitions to the Lord, trust in the Lord, and complaints of family violence and letters to relatives. Meeting with the everyday life of the past is a meeting with yourself and others, as a others, with their past and future in the “simultaneity of the nonsimultaneous”.
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Volkostrelov says about his play: “Everything exists, lives and breathes in the world at the same time – and we, and the Novgorod peasants. As soon as we turn his eyes on something, that “something” instantly comes to life, and maybe it is “alive” always, but “the power of one the words” or sight begins to live again.”
No less experimental in its nature the contingency of the past and the future reveals itself in the work of Boris Pavlovich and his colleagues on the project “the Apartment”, which until recently were placed in the former communal apartment on the Moika, and has now received a temporary shelter in the wording of the “Petersburg theatre magazine”. Moscow impressions “Study of terror” on texts by Leonid Lipavsky and works oberiutov Boris also chose the editor magazine – the famous “New World” – which coincidentally facing eviction. Meanwhile, her ragged walls with the smell of impoverished Soviet life breathe with the memory of the past, and images of the “Chinar” come to life among the portraits of those who were alien to them, if not hostile, however, disappeared as they camp or another existence.
Photo: courtesy of the organizers of the festival
Here is fine with the past is carried primarily through the actors, well, using shared memory space. Form of performance going on from metaphors Lipavsky – “photography talk”. They were Kharms, Vvedensky, Oleynikov, Druskin, z in 193-34 years in an apartment on Gatchinskaya street. Now these strange conversations about the basics of life, studies of time, dizziness, and horror, in which it is difficult to grasp the intelligible content, listen, and partly we are invited to “apartment Lipavsky” on a shoestring, but a welcome dinner.
the Actors are not present here “messengers” and “Chinar”, but in the course of work on the production become them. They are twelve and participants “Talking” to eight. So Daniel Ivanovich (harms), or Nikolay Makarovich (Oleynikova) are just two. And – in most cases – women. However, for the metaphysical space that they create, gender is irrelevant.
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Almost four hours moving from room to room, drinking tea with frost, delving into abstruse conversation, sitting on a chest in the corner of the hallway playing chess with the Director, eating herring and potatoes, giving a squeeze somewhere temperamental and nervous Leonid Savel’evich (Jan Savitskaya in the role Lipavsky nominated for “MAsuka”), rushing behind him in other spaces, under the quiet sounds of the piano, reading the poetry of Nikolai Makarovich (…more I have a claim that I am not a rug, not a hydrangea…), we merge with the aura poured into the atmosphere of those meetings. Some of them will be arrested and will die, someone will die in the camp stretches, someone in the blockade, someone will die on the front (as Lipavsky), someone (as the philosopher Yakov Druskin) will live to old age, and pull up your friends from the scary nothingness.
lost in the space of the old apartment, we cannot detect in our time. Or our time have merged in order to hear the rustle of extinction? To anguish a fiery look of that woman, the former wife of the man? To late the glint of the Silver age fell on the already solidifying landscape of Stalinist Leningrad?
Or to laugh with them over how jokes Daniil Ivanovich on Muscovites?