Title/author: 404. No place found / M. Penyushkevich Theater: National Center for Theater Arts named after. Kurbasa Director: Mires Peniushkevich " No place found" Director Mires Penyushkevich artistically rethinks the personal tragedies of Kherson residents. And this work on the stage of the Les Kurbas Center is capable of not only inducing a cleansing catharsis in the viewer, but also reminding us of what our rear is defending against..
The following is the text in the original language. Through the immediate proximity to the previous and similar occupation of the territory by Russia, Kherson became one of the first Ukrainian cities in Ukraine, which resulted in a large-scale influx of Russia. The greater need for the locals not to go over to the side of the fire pit allowed Kherson to avoid the internal affairs against all months and wait until the release of the ZSU.
The statistics are significant - how many were hammered, rolled up and died in Kherson during the hour of occupation - unknown. In addition to direct violent deaths, a humanitarian catastrophe was unfolding in the city. There were no products, medicines, medical supplies or social workers to look after important illnesses.. Journalists from The Guardian recorded the testimonies of volunteers: “We have more deaths due to the lack of medications, no matter what.”. If the number of those who died during the occupation were not so great, people do not think about statistics. We experience other people's individual tragedies (which then add up to faceless statistics).
In a plastic, dialogue-free display " " Its heroes are siblings from the same house: a patriotic activist (Yulia Yaskova), young people who have recently become friends (Maria Katernik and Vladislav Dirda), a vaginal mother in an awakened man (Sofia Bayun). There is a vase of hope and hope in the skin: and pull somewhere - it’s important, and throw it away - it’s bad.
Scene after scene trouble comes, one after another the bastards of the everyday life appear. The characters fight one after another, try to save loved ones and - like before Bruegel's slips - fly like a lance at the break of history. In “Voroshilovgrad” Sergei Zhadan explained a similar mutual dependence: “We are hesitant to criticize those who are close to us, not perceiving how circumstances change and how we ourselves begin to be cursed by those close to us.”. Here, behind everything, love begins. Another thing is that not all of us will live to see it"
Before the finale, most of the special valises of Kherson residents will be turned into tombstones. At the hour the support in Buzkova Park is being shot at by the activist. Before the collapse, the man’s new weapons arrived, and then his squadron’s squad became known.. The mother’s vagina will be wounded, and her life will end – at the same time as the lives of her daughters – under the hour of today’s artillery shelling. The found and most terrible death checks on a friend of an important age - hungry... To lose his young daughter, the most ill. From now on, these girls - on the side of their dreams - carry more rumors about those who were not lucky enough to make it out alive from the occupation.
As is customary for “non-majors”, the main channel of communication here is plastic and physical interaction. The flow of movements between the actors – staged by choreographer Anastasia Sinelnikova – allows both to reveal the unfolding story and to convey a subtle emotion to the audience. The rim of corporeality in the Center of Les Kurbas, for whom all the possibilities of space are explored. Together with the light and noise effects, as well as the melodies chosen for the atmosphere, the door slots and shadows become the director’s signature notes..
In the spring, Mires Penyushkevich has already presented the plastic play-tragedy “Sandarmokh”: about the tract in which cultural figures were buried, named after “Rozstrilyanim vrodzhennyam”. For those who follow the director’s work in advance, it’s clear that Penyushkevich is uniquely self-repeating. This is especially noticeable in scenes involving sensations, such as “wakefulness of the body” and “hunger pangs”. І repeated rethinking of similar ideas will lead to diversity and empathy.
It is important not to note the age-old peculiarity of the actor’s corpse. Kozhen and artists are unlikely to change their third decade of rocks. Obviously, this is connected with the age of Penyushkevich, who, moreover, presented his directorial debut “Reptile”. And on stage, the emotions from the eyes of the actor are knocked out without any detriment to youth, with honest actor’s sweat. This age-old disproportion compensates for the tendency of great theaters in roles “under twenty” to deprive tens of important and honored artists “over forty”. In one of the most significant scenes of “404” – the death of an older friend – both actors have less than their share of fate.. Alya didn’t feel the urge to call out a tearful – literally cathartic – reaction in the gaze.
The only thing that can be thrown at you is the end of the tragedy. The skin with history can become overly thin, even to the point of clumping. Whether the killing of activists, extermination and extermination, humanitarian crisis and shelling, which continue to this day, is not a guess for the director. The first story of Penyushkevich is not a documentary investigation, but a guess about the atrocities of the Russians that occurred during the occupation.
Two years after the liberation of Kherson, Kherson will fall into trouble. The infection of Kherson residents - like the meshkans of other front-line places, like my native Nikopol - Russians are vikorist on any living target. Artillery and drone operators of the Russian Federation conduct ballistic and drone attacks on people and vehicles. Every day in Kherson new vibrations and victims. But we must not forget what kind of hell the liberated localities were in, what kind of evil the front is fighting against.
By the end of the day, singing, there wasn’t a dry eye in the hall. Vistava “404” reaches his own mark – to tell fortunes about the evils of the Kherson occupation. Kherson is one of the unclosed wounds of the current war, and we need to prepare so that the theatrical delivery may turn out to be painful. Such is the burden of the living - to drag in the future the special valise of death and hope, inspired by guesses about those who can no longer be helped by Victory.