Title/author: Stus and Alla. Sowed. Christmas Detective / A. Borovensky Theater: Theater community DSP / Try Teatry Director: Alex Borovensky " Sowed" But this time the emphasis is not on creativity, but on Stus as a person: friends, relaxation, relationships with women and directly Alla Gorskaya. Immersive nativity scene from Alex Borovensky, in which the mechanics of the production provide for the involvement of the viewer in the action.
The following is the text in the original language Today. And tomorrow - I, and God let us go to hell.
Stus at the funeral A. The Gorskayas cut off two fingers, beat them with a bat " Call the carnival rounds on these days and say goodbye to the plagues. In 1648, a royal decree was issued that strictly discouraged artistic self-indulgence, besides the spiritual.. Autocrat Oleksiy Mikhailovich was wary that the buffoonish mysticism was removing tributes from the church and cultivating the ground for unrest. And the Tver boyars did not bother to curry favor with the Tsar. Before the speech, after the signing of the Pereyaslav land (1654), the fence of the Act was in effect on the territory of the Ukrainian Left Bank, in the territory of Ukraine, and in Kiev.
It is worth remembering that theater as a mysticism was born from the Dionysian mysteries - rituals to holy generosity. During the hours of these actions, the proto-actors in goat skins sang two types of songs: about the slaughter in the life of the bastard god (tragedies - “songs of goats”) and sarcastic obscenity about Dionysian parties and orgies. So, the capping of the saint lies at the basis of stage mystique, it behooves us to do so.
Director Alex Borovensky, in search of new stage forms, does not forget about the basic principles. In the title itself, the names of the sacred cores are indicated, until which is added, and the date for slaughter. " They started to shine. Happy detective" The action in which the bronzed Mitzi are suddenly brought down from Olympus to the ground (on the Try Teatry stage). This is an attempt to show the muralist and dissident poet as people who are insignificant to the eye. And the detective story of this story is reversed - you need to figure out what actions of the Mitzi led to the fact that the Radyan system was prevented from abusing them.
For the plot of Borovensky, the author uses not historical materials, but panels and legends. Yogo Stus (Maxim Burlaka) get off the p'edestal to freeze and stretch Alla. Not the leaders, but other women come to the fore in this story for Vasily. Alla (Anna Chernyavska) is talking here not about the damn mosaic panel, but about the choice between people. And the singer Ivan Drach (Alex Borovensky) and the critic Evgen Sverstyuk (Oleg Mikitas) in the space of Try Teatry are more likely to eat freshly baked pies, less complicated relationships with power. That story will always have a tragic outcome. Alla will be hacked to death and thrown into the basement, and sick Stus will be killed with a prison shack.
The particularity of this is not their pan-brotherly relationship before the sixties. There is no sedition to the knowledge of the creators here, and “Stus and Allah” is organically inserted like a worm into the p’edestal of new classics. And the axis of emersiveness, the zeal for gaining the public will be forgotten. The authors of the production are trying to earn everything so that the spectators can reach the celestial beings, entrusting themselves with them. Drink a hot drink at the station when you wake up, play at the discos, play football with skulls at Bikivna’s and compare the poetry of the sixties with the current, popular one (Zokrema, and with the “fresh” classic by Stepan Ghiga).
If we look at the DSP robot through the current prism, so beloved by theatergoers, then Borovensky’s “Revealing Detective” hangs between the sixties paratheater of Jerzy Grotowski and the current merciful phenomenon Punchdrunk. Grotowski's Paratheater did not require any decorations. The gazer found an actor in the middle of himself, so that he could then demonstrate the inside image to other gazer-actors. The multiplicity of gaze as a function combined the paratheater simultaneously with the Dionysian mysteries and Gestalt therapeutic practices.
In the detective story " The rooms feature scenes from Shakespeare's Macbeth. The guards in the hotel are not ghosts, the actors do not notice their presence. You can go through the rooms with one of the character guides or look around the hotel on your own for three years. In case of special needs, here is an individual report on the viewing of rooms, the ending for all viewers is final. The rise in price of the public at the hour of rising took away the name of the promenade-theater.
View of Grotovsky Borovensky, taking active measures from the watcher. You can gradually get involved in the action: hit the ball at the peak of the mustachioed leader, guess the rimi and joke among your sexots. Everything that the public remembers about Stus and Gorska will be discussed with the government (and victorious against itself).
The diversity of " Vistava is available in all spaces Try Teatry and vikorystovuyu them to the maximum. So we feel the sex poetics of Stepan Giga in the character of Alicia (Viktoria Burlachenko) in one of the corridors. In addition to major productions, the public will not be allowed to sit in the seat. Aside from the scale of Punchdrunk, what we have in front of us – my video – is not “open light”, but a linear plot, in which the viewer moves synchronously with the characters.
It was not until then that the stage audience was included in the improvisational process, as required by the mechanics of the production. It looked like long pauses, so that the actors wanted to cover up with heavy improvisations. In theory, this would be a little enhanced due to the broadness, lack of emphasis, uniqueness of the. In practice, it was reinforced by the impression that what we are facing is not a real creation of reality, but a creative farce, a nativity scene, a buffoonery.
Some actors were not prepared to be so deeply constrained into the role of a player without a fourth wall. The fortune-telling buffoons didn’t just wiggle their fingers for the sake of mystique. Acting for them was a single way of life: as much as you put in a hat, so much is worn. An objective demonstration of their talent was the ability to express it – in a literal sense – to the public.
You can guess about the ritual of marriage for buffoons in “Stusia and Alli”. But I wanted to remind you how popular rock musicians practiced “grandmothers in a hat”. It turned out to be tiring and overflowing: and the first rows reluctantly parted with the blood. The show was still “distant”, so after the final performance, the vocalist of the Vidsidov received 10 dibs from the Volgograd pre-trial detention center for pregnancy.
In Try Teatry, in a proper way, shake the looker, who, having already given pennies for a ticket for someone else’s experiment, will be revealed, got into a fight. It's not surprising. Productions like “The Red Detective” are still rare, and the extent of what is permitted between the actor and the spectator is still a test and pardon. The actors also have different roles in addition to those here, so that the trigger of the viewer is pressed in advance.
The only trigger for me, without sacrificing any sense of artistic integrity, is the director’s partial negative neuropathy, the ironic thinking of the leading actors and colleagues. On the one hand, this suggests both the tradition of Dionysian bawdy songs and buffoonery. Ale behind the Hamburg rakhunko, guess all the mitsi - I would like for the number of public that would come to their place - successful for Borovensky. Therefore, targeted jokes sounded like a Diogenes bark from a pithos booth: who felt the intangible truth of an informal innovator, and who wanted notes of creative lateness.
Avant-garde part of the show " " Satisfaction with the production of Theatrical splendor of DSP lies significantly in the readiness of the viewer to simultaneously follow the actors and play the ball with them. Without this, Borovensky’s action can be seen as a siremia and can be transformed into dead and living classics. That for the public, which is adept at experimenting, is a good time to try again, but for theatrical events - in the face of the threat of severed fingers and other bodies - there are no incomplete articles that cannot be ignored.