Title / author: Like people / Based on the works of Andrei " “Like People” - “a plastic and poetic performance without Vaseline” from the DSP theater community. Where director-choreographer Yulia Prilutskaya, through the overt physicality of the actors, experiments with Kuzma’s strange lyrics.
The following is the text in the original language I feel, brother, that the war will be cold and bitter, bitter and evil.
Andriy " The ritual is posthumously inspired, in which ironic poetry of Kuzmi Scriabin is brought to the level of prophecies and prayers. And to complete the ritual, the actors - mov hrobaki - predict corridors-holes in the fourth wall. Here the frontier is erased not only between the hall and the stage, but between the carnal and the spiritual, the satirical and the holy.
“Like People” is the ideological sister of “Stusanina”, the most famous plastic production from the DSP Theater Splendor. Let us try to understand how the words of the Poet resonate in today’s reality, which the author could not know about. In the powerful " In schools, they should begin to remind the non-politically correct “Negroes love milk, they can sing like nobody else,” and the most popular ones will sing in the future to win the honorable State Kuzmenk Prize. I – like British colleagues-Shakespeareologists, who collect coined words, first of all, from Brad’s works, such as bandit, manager and critic – Ukrainian Scribeologists enter the “Kuzmenkivsky” dictionaries of neologisms.
Hypertrophy of the post of Kuzmi at the same time and by the method of its recognition for shanuvalniks, and especially post-irony, for those who do not share the buried post of the late musician. The main idea was to show Scriabin’s poetics from the most insignificant and remote point of view from the original. “Like People” aims to give the song texts more additional stories, worlds, and interpretations; and essential for plastic performances, lack of confidence directly affects the expansion of senses. She was insured through the center - first for everything - to those who are already familiar with the work of the Skryabin group. There is also a great deal of satisfaction with the production: equal satisfaction with what the author said and how the director said it.
Yulia Prilutska is known as a choreographer. The very bodies of the actors - Olesya Bidenko, Olga Galitskaya, Volodymyr Varchuk, Bohdan Zhubryk, Maxim Kozinsky, Olenya Polishchuk, Danili Solomyanoy - become both the main scenery of the production and the central visual special effects. With a poetic foundation and living through the recitation of verses, the main means of contact with the viewer is lost in plasticity and corporeality.
To deal with carnal things here is mature, within the bounds of decent. The actors are constantly teasing them with overdressed and exaggerated gymnastic poses. Intimate ones here enter into the territory of craving for violence and abuse, divided and undivided passions, three times more. " " It’s so hot that loud applause in the theater sounds after the finale, and in a cheerful manner before the finale, Prilutska transforms it into an artistic technique. Doctors, how many Ukrainians were conceived to the voice of a musician, similar to the “applause” Kuzma deserved.
That ritual is not possible without a spiritual, sacred layer. The first scene with him looks brilliant: the naturalistic-maniacal parody of Lagutenka “Mumitrol” opens with a church chorale. At first the sum of the lofty and ironic wonder screams out a laugh. And over time, ritual tunics, dramatic makeup, masks with forever captured emotions envelop the atmosphere of mystery. In some actors they become oracles, and through Kuzmi’s poetry they speak to us more effectively, more prophetically.
Surrounded by a theme, you will see war poetry. From what was revealed in the epigraph of the early “Godnik” to the “Bitch-War” - Well, who’s clicking on you Why did you come, you old prostitute? – Yak Kuzmenko wrote after the Russian invasion. These anti-war scenes woven into the body are painfully harmonious, and therefore resonate strongly with the room.
In a kaleidoscope of themes and moods, you may find it difficult to choreographically visualize Kuzmi’s poetry. When we focus on the sequence of texts, a hypothetical mosaic of history emerges. It all begins with “The Remaining Angel,” which is presented as a novelty story about the death of a musician. And it will end with “My daughter Ukraine” from Viglya Koliskova.
“The last angel from heaven just fell onto the road,” - a sign of prophecy from Kuzma, but also about death soon. All further actions on the stage may be a posthumous retrospective of past memories. And the scene itself is found in the world - invented by Maeterlinck in " All worldships exist in limbo, in a ruined paradise, the only way out of which is reincarnation. And before us are different things, our very own jellyfish, but similar to us, like people.
Prilutskaya’s performance was created with the author’s relish: with teasing choreography and unusual bodily artistry. Especially to the Raja of Kuzma’s creativity. Adje “Like People” – a collection of unsatisfactory visual covers of popular (and not only) songs by Scriabin, which is compiled with a clever post-ironic over-reliance on the author.
And I will keep an eye out for those who can guess the musician without singing.
Without knowing the song-perchodzherel " In such an episode of “Like People” one will be overwhelmed by the cherish, unreasonable failure of the heroization and canonization of Kuzma. I feel the same thoughts after the premiere.
As a lover of the creativity of a musician, I will point out that “Like People” can not only be inspired by a paradoxical look at the poetry of Andriy Kuzmenok, but also evoke tears of nostalgia. Behind the clock, when “cheap beer and dry wine made us happy people,” and not only those who sing with us in old photographs.