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Hi! We’re glad to see you reading our Almanac. What Almanac is? This is a non-periodicalealmanac “Dveri \ The Doors” that is devoted to amateur dramatics in Belarus. We will tell you about the most interesting theatre people in Belarus, amateur theatres, plays and shows. We will show you the backstage of Belarusian community theatres. There is the best of 4 issues.

But who are we? Belarusian State Theatre is developing too slowly, it continues the tradition of the Soviet theatre, which is already outdated. Theatre Movement “Dveri” is an informal Belarusian youth organization. We organize and hold various theatrical projects with independent, alternative, amateur theatres. Our aim is to create contemporary cultural network to give all possibilities to independent theatres to grow and develop. We are looking for new theatre experience. We are happy to any new friends. We want to exchange the cultural experience with you. Do you have anything to show us (video recordings of workshops, performances), to create something with us or tell us something? Write to us org@dverifest.org Enjoy our first issue translation!

Альманах «Двери» №3

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team

№1-4 2011

Almanac «Dveri». About theatrical life of creative youth. chief editor

editor photo editor designer

authors

translators

Vladimir Galak Nikita Sidorenko Katya Azigrey Katya Karpizkaya Nina Shulyakova Christina Rybenkova Alena Ivanyushenko Tatiana Yanushko Ekaterina Potemkina

Alena Ivanyushenko Kate Karpitskaya Vladimir Galak Alexey Zhdanovich Nikita Sidorenko Anastasia Suslova Michael Molchanov Illustrator photographers

Alexey Zhdanovich Dasha Ivanchik Elena Shumskaya Ekaterina Kasyanova

org@dverifest.org www.dverifest.org www.dverifest.lj.ru

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Almanac “Dveri” #1-4. 2011-2012

Cover

Kate Sapotko Nadezhda Zhadenova Marie Yakimovich Anton Suriapin Evgeniya Komarova Marina Pashkovskaya Alexey Zhdanovich Kirill Mazhay Julia Novikova


content

p.

12

“Half-opended doors”

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24

Student’s Theatre Studio “artvoyage”

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51

Everlasting Love

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16

The Third Festival “Dveri”

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58

Point of the Contact

66

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An Unusual Theatre

Lubitel Theatre

18

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44

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63

Plein Air

34

The Third Ingredient

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Backstage

A Big Abstraction

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The Second Theatre Open Air “Dveri” Classical “cake in a face” in a absurdist interpretation of masterpiece of French litterature “Gargantua et Pantagruel”. Cigal’ and Brother Zdan-Toothpuncher in “Rabelais passion”, 27.08.2011, Vyazynka photo by nadezhda zhadenova

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Theatre Movement “Dveri” What is the “Dveri” (“The Doors”) Who opened it and what is the secret of success? Door photo from the internet

p. 12


The Third Festival “Dveri” 5 days, 10 theatres, 1500 spectators. «ЭСКОREAL», theatre EYE photo by marieyakimovich

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Half-opened doors The age of movement “Dveri” is only one and a half years old. It is only the beginning. Then it will be more. More people. More projects. More theatres. More viewers.

More doors to open. How it all began and what will happen in future

Vladimir Galak and Nikita Sidorenko. translation by

Alexey Zhdanovich

Almanac “Dveri” #1-4. 2011-2012

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frontpage: half-opened doors

The Beginning Eighteen months ago there was nothing. There was no “Dveri” movement, no festivals, no projects. There were only theatres. Amateur, experimental, plastic and others. They lived each in its own creative world and performed only for “their viewers” (for friends, for the university, for the family, for casual viewers). But after 16 months everything has changed a bit: there was a  center around which different talented people began to gather in order to get acquainted with the work of each other and to make joint projects. This center was the theatre movement “Dveri”.

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Almanac “Dveri” #1-4. 2011-2012

Now “Dveri” it is 18 realized projects, 45 theatres, 2872 friends in the social network “Vkontakte”(Russian analogue of Facebook) and a great number of viewers. And all this is done without budget. What is the secret of “Dveri”? How is it possible to make interesting projects without financial support? The first secret “For yourself ” When you do something for yourself, you do it well. Once, two amateur actors decided to perform at a theatre festival in Minsk. A festival without participation fee and

free tickets for its audience, but in 2010 there were no such festivals in Belarus. What to do? Festival! Make your own festival. Another time the same two actors wanted to read a magazine about amateur theatres, unusual theatre movements, get acquainted with the work of the Belarusian theatre-goers. There were no such magazines. What to do? Magazine! Create your own magazine about amateur theatres. Such magazine that will be interesting to yourself and others. And so on. If you want something, but it doesn’t exist, it can be created. Primarily make it for yourself and then it will be interesting and useful for others.


The second secret “People” The main reason why the theatre movement “Dveri” has done so much without money — creative people who work for the idea. It is the team of the “Dveri” movement, photographers, journalists, illustrators, spectators and Minsk universities, which always provide us with their stages for different projects. The third secret “Just do” Do not wait. Just do. Do not dream, set a goal and do. Do what you like. And people will join you. Together we will do a lot.

Aims Why it is important to join and help us? In the beginning we just wanted to act. For this we have created the festival. Then we wanted to get acquainted with other theatres, and we started doing this almanac. And more and more, we wanted to perform more often — we organized a theatrical skit, we wanted to read poems — the audience was invited to our literary evening, we wanted to relax in nature — called our viewers and friends to the theatre plein airs, wanted to see the performances that we can’t see in Belarus — we created a video project, “Behind

the closed doors.” And now we have become interested in theatre theory — a new project, “Lecture.” And besides, the founders of the movement, Nikita Sidorenko and Vladimir Halak, started their graduate and postgraduate studies in the Belarusian State Academy of Arts. All together, we are developing the theatre movement in Belarus. We are searching and making experiments. The main thing — we all are doing it because we like it. For us, for the sake of audience and theatre. The more people we gather, the more doors we could open! www.dverifest.org

Almanac “Dveri” #1-4. 2011-2012

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infographics: third theatre festival

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“dveri”


Almanac “Dveri” #1-4. 2011-2012

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in the spotlight


Work. University. Home. We spend the main part of our life in the premises, especially equipped for our pastime. Changing the geometry of our location does not really

improve the situation.

“Dveri� remind us that a human being is a child of the nature, and take all the followers outdoors. Not to the jungle, of course, but to the meadow near Vazynka village. To have some fun in the fresh air. Text: Katya Azigrey Katya Karpitskaya Photo: Anton Suriapin Translation by Dasha Ivanchik


in the spotlight: plein air

By one P.M. people had started to gather on the picturesque meadow, where someone started preparing for the performance or observing, playing the guitar, listening or singing along. Everything was saturating with the atmosphere of the upcoming day. The open air was initiated with a performance of an amusing duet “Cigale” accompanied with their fellow Zdan-Toothpuncher. “Rabelais passion”, a half-hourly matinee charged the audience with fun; “for laughter makes men human”. And those who were familiar with “The Life of Gargantua and of Pantagruel”, were virtually splitting their sides with laughter. Here we see the Gal’-Monk intending to relieve nature, and what a whipping he has with him? Obviously, a fluffy gosling… There we go – Brother Zdan is making a clever stroke, on the sly and from the behind he is smashing the cake all over Ci-Monk’s face. After a short break an experimental theatre “Golovanoga” was asked to the cozy green stage. In the cooperation with duet “Cigale” they presented the reading of the abstract from the play “Light breath” by Pavel Priazhko, prepared by Alexey Strelnikov. The clearing was getting filled up with a story, which could not be drowned even by the strong wind rustling in the trees. That was a story about lesbians and straight. That was a story about the loneliness and the hard labour of listening to the others.

Gal’ is receiving an emotion during the warm-up according to “Kud Ljud” system

Soon all the participants of the open air were invited to Slovenia. A workshop based on the experience of the street theatre of the pink “Kud Ljud” was focusing on psychological liberation. The participants were taught to feel the mood of the others and not have fear of looking silly or ridiculous. The teams “Ruj!”, “Ondo!”, “Opla” at the very beginning left the participants a little confused. But as the people were becoming familiar with the methods of the workshop, the forest became live with enthusiastic exclamations. “Don’t be scared to make mistakes, this is fun!” Then the representatives of “Elby” theatre took their turn in the show. The workshop by “Elby” theatre provided the audience a unique possibility to perform a fragment from Chekhov’s “Cherry orchard”, a dialogue of Yasha and Dunyasha. This part has always been literally a “cherry on the cake” for all theatre students and graduates. The audience was divided into couples, each pair of Yasha and Dunyasha had a possibility to act. Each performance was videotaped and analyzed later on.

“Golova-noga” and “Cigale” during the reading of the play “Light breath” by Pavel Priazko

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in the spotlight: plein air

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Vacheslav Inosemtsev is preparing the participants to the workshop

The leader of the plastic theatre “Inzhest”, Vacheslav Inosemtsev, at the very beginning of the training set everything straight: “Not a word, not a sound, otherwise the training will be stopped”. And no one during a half-hourly walking through the thicket did not say a  thing. No matter nettle, branches, whipping your face and unleashed shoelaces! Just walk, breathe and don’t fall behind. Feel your body, feel with your body. Because the only way to relax is working out. Shortly after the participants had been back at the meadow, barely recovered their breath, the workshop was continued. Everyone who was too tired, had to waive: the drill was called “animal dancing” but in the end it turned into “embryo dancing”.

Alexey Zdanovich is spreading liquid Katya Karpizkaya according to the system of Inosemtsev

“Relax, imagine that you are water and flowing on the superficies”. Everyone was repeating: “I’m water, I’m water”, falling down into the grass, trying to reach the sky and swimming in the imaginary river. And many other things like this, about three hours in a row. It was getting dark, the participants continued communicating, singing while packing home. All of them got charged with the special atmosphere of the event. Adieu, Vazynka.

Almanac “Dveri” #1-4. 2011-2012

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backstage


Student’s Experimental Theatre Studio “artvoyage” Characters: Alana Ivory (А) — director, artistic director; Alexandr Chertkov (CH) — chief and specialist in organizational questions; Vitalia Prishmont (P) — actress

Katerina Karpitskaya Nina Shulyakova Translation by Elena Shumskaya Edition by Alexey Zhdanovich Photo by Evgeniya Komarova and from theatre’s archieve


backstage:

“artvoyage” Act One In the beginning it was Gibus the place of action: BSUIR the time of action: 2004 It was usual New Year performance. One of the characters is mischievous Gibus. Gibus doesn’t look like showy Esmeralda, she is just old ladyadventurer, who doesn’t demand grants and bunches of roses. Alana Ivory is playing this role, and she is absolutely unaware of the fact, that after the performance, the artistic director of student’s club Larisa Maljarchuk will make her an unusual offer: it will turn out, that student’s club of BSUIR feels a strong need in theatre-studio and she wants her to create a studio in the university.

Alana Ivory

Alana: As I was playing old lady Gibus that morning, I agreed in a Wmoment. But I didn’t take it seriously, because I wasn’t going to become a true director, although. I had a necessary education for it. Then in September I got a call and I decided to try. So, it turns out, fate had decided for me. The fate of whether the case it was, but Alana Ivory became the artistic director and a hotpulsating heart of the theatre-studio «artvoyage». Act Two Laying a foundation the place of action: BSUIR, assembly hall. the time of action: September 11, 2004, 19:00 Unremarkable, clumsy piece of paper in A4 format. Hand lettering on it displays an ad: “We invite everyone who wants to be an actor and connect his life with the theatre”. The case when the content is more important than form. Nine people who have come to

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the first meeting, are expecting what will happen next. They, who “were depicting Hamlet in high school” and want to continue “fine arts”, are looking at Alana. Alana is nervous. A (inward):What should I do with them? Then, after a pause, she exhales: “Don’t be afraid, cause I’m afraid too!” So its started. The venue, which, as the saying goes, you cannot change — the assembly hall, is filling with stories “about yourself ”. This is the first small task. Now, September 11, acquires for the newborn group celebratory status: the birthday of the theatre. What happened next? The period of studying each other began. It was the time of research of new ideas, interesting decisions, and first of all — a play, which would be a  first step on the way to success. The main principle is the next algorithm: to find — to read together — to watch — to appreciate. Future actors only tried to realize their thoughts. They were building their big colored house step by step by trial and error. For example they had to abandon the idea of plastic performance. So the search was continued.

Anna Romanovskaya

Act Three The first is the most real he time of action: One day. Alana stumbled across the play “The most real” (V. Glotzer). Such an advanced version of the familiar childhood tale of Andersen “Princess and the Pea”. Alana is reading it to the students. They really like it. And it is decided to be staged. The guys are lucky: the issue with the scene initially swept away. Even the rehearsals are held without fail on the stage and only on it. It is an arrangement. Almanac “Dveri” #1-4. 2011-2012

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backstage:

“artvoyage” Work is in full swing. Originally allotted for rehearsal time — four hours a week — is not enough. Within six months the troupe is finally formed (today only Alexander Chertkov and Vitalia Prishmont are present as the pioneers ; the rest of the troupe are young people who came to the theatre during last season, the play “Merry rogue, or Love and Freedom” was played by debutants). The time for “The most real” is coming.

Alexandr Chertkov

Alexandr Chertkov: I remember that I do not remember anything. I was standing backstage and was feared of the opening of the curtain. I was afraid of entering the stage. It was very scary. But this fear, it goes in descending order when you’re concentrating on what is important — to convey the story. Plunging into the role, you forget about their personal fears. The performance celebrates the premiere and did not “appear” on stage anymore. The actors-students leave the theatre and after it the production is no longer exist. But beyond the end of one page, should always be the beginning of another. Act Four There are many pages in the book the time of action: Nowadays In the piggy bank of the amateur theatre “artvoyage” are already 7 performances. However, guys do not like to call themselves amateurs. Vitalia Prishmont: I call our theatre — theatre studio. All together — our entire team — we are searching for. Searching for the truth. I would better call it beloved theatre-studio. “artvoyage” team is a close-

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knit team. Over its history there were only 2 major conflicts. But they overcame this obstacles: sat together, frankly examined, in what someone is not satisfied. Solved the problems. The distinctive feature of “artvoyage” is its experimental character. They work and create without any restrictions. CH: We are trying ourselves at various genres. Before, we were called “Theatre-Studio”, and now added the word “experimental”. We are curious to try new things. Many theatres have some kind of uniformity in the styles of performances. I’m not saying it’s bad, however... And another feature of this theatre is that the guys have Alana. Elegant, incredibly plastic and emotional, she is skilled jewelers who granites the diamonds. Actors of “artvoyage” are inspired and inspiring, seeking and finding... But most importantly, traveling they invite us, the spectators in their art-travels, or art-voyages. The next of which, a secret saying, will hold us through the maze of women’s suffering.

Nikolay Shidlovskiy

P: It is about us, girls, and women, about our solitude… And it is, you will agree, the beginning of a new page… “For theatre gourmets...” Couple of recipes from the “artvoyage”, which will be useful for theatrical kitchen. For the preparation of the theatre, we need: • a leader who is ready to take on this responsibility, is ready not only to command, but also teach. • People who have the motivation and interest. Because they will have to overcome difficulAlmanac “Dveri” #1-4. 2011-2012

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backstage:

“artvoyage” ties. And not only associated with the financing. The will have to do everything with their own hands and build from scratch. NOTE: At the head of the theatre should be a talented person, restless, creative, of youthful spirit and a bit heavy-handed (without it creativity can turn into a fable “The Swan, The Crayfish and The Pike”). To make the ship swim, it is necessary to put a very high bar. Do not think! Act! On the stage the main thing is the action! Studio Theatre is a great responsibility. It is not a private lesson. It is a group work. As it is said: “One for all and all for one”. Because everything is interconnected in the theatre, if you are late for rehearsal, then you can disrupt the work of the team.

Vitalia Prishmont:

Main ingredients of successful performance: • The work on the show should be well organized, putting a specific date by which it needs to be done. From the plan, of course, you can withdraw. It all depends on the degree of readiness. But when it is hanging over you, the work is more responsible. •

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Eventually you should get not the head and tail, but the whole ensemble. And the viewer, in turn, after the watching should experience the whole performance, rather than its individual parts. Performance is the actors and scenery, light and sound and much more. And all this must be subordinate, to make a single living organism. Looking for a play In the play, the questions, issues that affect artists of the theatre should be raised. Which give some answers to those


questions that confront young people (and the actors and the audience are mostly young people). Therefore, from the scene we try to speak about things that “hurt”. And, of course, it must be an experiment; •

You should consider the financial side, the possibility of the scene, the scope of scenery.

Plays with age-related characters are not taken in the work. It is Alana’s personal position: “I am opposed to the old men playing young actors in an amateur theatre. Often, it seems, to put it mildly, unconvincing, and often - is simply ridiculous! Maybe I’m wrong. But it’s my position”.

About inspiration Actors claim that it can be found everywhere. The most important thing is not just watch but see. Inspiration can be drawn even in people who are working next to you: during the play they are revealed, are changing... Watch and be inspired. Others prefer to be “fed” with specific things. For example, Alexander Chertkov is interested in the theatre of cruelty of Antonin Artaud and verbatim-documentary theatre. Well, let’s see what this will evolve. After all “artvoyage” is an experimental theatre! Trainings One of the main differences between an amateur theatre and a  professional one is that in parallel with rehearsals you have to learn and grasp the technique of speech, acting, sculpture... “artvoyage” is doing it during the staging of the play. Trainings are selected to meet the needs. For example: •

the sensitivity of the time: you must open your eyes exactly

Karas’ Morozov


backstage:

“artvoyage” a minute later, at the same time, not counting; •

Photo: improvise, erecting some kind of a scene without any words. Congeal. Then the picture comes alive. The main task is to tell a story.

The guys are singing and dancing, trying to attend master classes. About music

Ivan Kholod

Alana as a director is in charge of music. The process of searching is first of all spontaneity: “The idea of what music should be in this or that play, comes by itself. I can’t say why I’ve chosen this music. It is the way in which I hear the performance, the scene, the character. When I am reading a new play, I hear it musically. Sometimes when I am listening to the music at home (even without thinking about performance) the idea of staging of a future play can come to my mind”. About characters and acting, place in the theatre P: For me the main thing is to revive my character. It must be found in the text of the work (in the description of a hero, how he speaks, what he says, how he acts). Understand him. You could even say love him. CH: For myself I have defined a  spiritual approach to the acting. The statement of Medi Faradzhpura: “As soon as you can play something on stage, you can implement something that would not have dared before”. А: Director is a crazy traffic-controller. Instead of controlling the movement of “cars”, he knocked

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them together. It is in every production: “bare nerves, sleepless nights, it is when everything is subjected to the samen — the future of the performance. It is a great ability, not sparing yourself, firmly and truly speak from the stage, the skill of deliberately inflicting the pain making someone to think, to understand something, go through the purification of the soul. It is when you hate your profession, and at the same time without it cannot imagine your life. This endless dissatisfaction is the fact that you have done. For those, who start CH: Do not be afraid! Wish! And in general I would like amateur theatres to communicate more, be attracted to each other. It would be nice to unite them all. That is in what Ci and Gale are now engaged in. You need to move in this direction, to communicate and exchange experiences.

Performance “Merry rogues, or love and freedom”


shows go on


The Third Ingredient [musical comedy] Student’s Experimental Theatre Studio “artvoyage” in one-act musical comedy by O.Henry’s short story Directed by Alana Ivory Photo by Evgeniya Komarova Translation by Ekaterina Kasyanova

Almanac “Dveri” #1-4. 2011-2012

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shows go on: artvoyage’s

“The Third Ingredient”

artvoyage

had perfectly coped with the replacing of the prose to the stage. Two main narrators: Alex Grinkevich and Alex Chertkov.

The verbal battle of two narrators gave an opportunity to keep the whole spectacular in the necessary rhythm and keep the audience attention till the end of the performance.

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The first appearence of Hetty Pepper (Vitalia Prishmont). “Her nose and chin were more sharply pointed than usual”.

The rotation of “beauty, carrying the total amount of blond hair sufficient to have justify the horseback gallop of a hundred Lady Godivas” — the bright juicy spot, which was able to make this dark stage more lively. It looks very effective.

Almanac “Dveri” #1-4. 2011-2012

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shows go on: artvoyage’s

“The Third Ingredient”

The phalanx of wage-earners to the place in “The best department store”: Alesia Pimakhova, Olga Kornienko, Margarita Burkova, Tatiana Romanovskaya, Valentina Malova, Liudmila Stepanova.

Anna Romanovskaya made her debut in the role of Cecilia. She did her job perfectly: she created quite plausible image of “miniature miniaturist”.

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Vitalia’s amazing mimics simply charmed the audience. Mainly those people, who had their seats at the first rows.

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shows go on: artvoyage’s

“The Third Ingredient”

Narrators are preparing a new turn in the story.

The showy narration of Cecilia about her misadventure. Both the audience and Hetty couldn’t help looking at the young artist.

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There was very cold both in the hall and at the stage. But it seemed that the lightly dressed actors didn’t admit it.

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shows go on: artvoyage’s

“The Third Ingredient”

Hetty has a gift of persuading. Both the audience and the man with the onion.

The bow. The applauses. The curtain. We are looking forward to a new performance in a new season.

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“He flourished the onion within an inch of Hetty’s nose. The saleswoman did not move”.

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in the spotlight


BACKSTAGE What can you do to turn the incentive of going to a theatre from a hackneyed

“take a girl out to see a performance” into something much more profound? What happens if a group of enthusiasts and one youth organization come up with an idea to arrange an event, which would enable

ordinary people to plunge for one day into a genuine theatrical environment?

Would it help them to discover a new love for theatre, to get a better understanding of it, to look at it from a different stand? That was the aim of a new project «Backstage» which started up at the end of March 2011. Text: Christina Rybenkova Photos: Marina Pashkovskaya Translation: Anastasia Suslova


in the spotlight: backstage

From Idea to Embodiment 18th of April to 2nd of May was the time when the people who dared a crack at drama, puppet theatre, plastic theatre, etc. were subjected to a real experiment. The presentation of a project took place on the 27th of March on the premises of the “Fialta” youth centre. It was a great testament to everyone who showed up that the “Backstage” project leaves no room for boredom. Those who attended the presentation learned to feel and listen to each other during the interaction, were constantly delivering monologues and imitated the sound of the rain. There were around 70 applicants willing to participate in the project, even though the organizers hadn’t counted for more than 20 people. That is why the process of selection was very meticulous. Soon after the lucky ones who got picked were already on their way to the first rehearsal. You Have Two Weeks The functions of the director in the drama theatre were carried out by the actor of the National Academic Drama theatre named after M.Gorky Roman Dervoed. Alongside him working with the young people was the actor Vladimir Glotov, who works in the same theatre. They were teaching their students about various theatrical systems, demonstrated different exercises and drew parallels with the real world basing on true events. They helped to bring the life experience to the stage. The actors-to-be had to give immediate reactions, forgetting about everything that was happening outside the walls of the theatre were the rehearsals took place. One of the participants of the project’s group “drama theatre” Ekaterina Karpickaya reminisces: “I was suffocating with millions of emotions none of them like the others. I was told:

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“Look at the screen. You are in the cinema. You see horses on the screen. Find a justification to leave the cinema”. I left saying that this is distracting me from the every day’s routine. Now imagine: “He abandoned you. Gave you the tickets into the rain”. Should you call him, perhaps?” I was drawn into this world of emotions, the level of which increased with every new rehearsal” The participants had a chance to visit the backstage of the drama theatre, had rehearsals on its small stage. Some of them were even lucky to witness the rehearsal of the musical pieces that are part of the theatre’s “Pane Kochanku” play. And while at the very beginning some of the students were late or didn’t show up at all, very soon everyone became so hooked up on the rehearsals it was literally impossible to miss any of them. Sometimes the drama group stayed up to midnight rehearsing. The plastic theatre group was headed by Vyacheslav Inozemcev (actor and director of the “Ingest plastic theatre”). The puppet theatre group had their classes with Valery Zelensky a professional actor working in the Puppet Theatre. The rehearsal spot was situated in the puppet theatre itself, which enabled the participants to literally plunge into the atmosphere of puppets and puppeteers. There was constant interaction with all the members of the theatre’s troupe who for their abilities to bring life to any object, be it a glass or a regular napkin merely with the help of their hands are impossible not to fall in love with. Final Performance The day of the final performance designed to draw a line under the project’s activities came. Lots of people gathered in front of the theatre. No one had been expecting such agiotage. The small stage of the theatre can hold a maximum of 70 people, but this time there were more than a hundred of those willing to see the final performance.


The first to demonstrate the result of their work were the actors of the Ingest plastic theatre who were performing right in the street. They appeared as if out of nowhere covered from head to foot in white makeup, barefoot, wearing nothing but underwear and raincoats. They were smoothly making their way through the audience with their gaze riveted into their own souls. One could clearly discern the masterwork of Vyacheslav Inozemcev.

The actors were crawling around, noiselessly, wreathing and wriggling, every now and then freezing up with terrifying grimaces on their faces. The audience standing there were trying to guess what was the idea behind the acting. It turned out later that the performance was called “The flowers of the city”. The flowers that were making their way out of tower-blocks towards the sun. Through asphalt, exhaust gas and the people trampling over

them — all the way up.

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in the spotlight: backstage

Drama Later on the small stage became the host for the drama troupe who staged a play based on the story by N. Teffi called “Delicate Mindset”. Train station. Confluence of lives. Ordinary people, common weirdos, policemen, children, khachapuri salesmen, all intertwined together to form a cacophony of sounds and images. A languid woman. A modest student — an artful seducer who gets bitten up in every city and

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who’s never been truly loved sets out on a  mission to win her heart. Vladimir Glotov and Roman Dervoed have changed the play specially to suit their students having adjusted the angle of representation so that to demonstrate all the new skills that the young actors acquired. To achieve this a decision had been made to incorporate several genres at once: thriller, silent film, comedy, tragedy. In fact the script was being changed almost

every day. The result was so emotional and amusing that it was hard to believe none of the performers had a previous acting experience. According to the organizers everyone was pleasantly surprised by a young girl playing the part of a child — Maria Kovaleva. Throughout the rehearsing period she had been stiff and somewhat uptight, but during the actual performance she gave a very vivid and bright performance.


Puppet Theatre Most of the viewers were expecting the performance of the puppet theatre somewhat condescendingly. It is only children who are interested in puppets. To everyone’s surprise the performance turned out to be a captivating spectacle. First an amusing little demon not knowing what to do with a rocking chair, next an ostrich which the actors used only their hands to create and then a failure of an artist. But the point was

not even in the idea of the performance, but the mastery with which it was delivered. The skillful hands of the actors made the puppets gain their own characters, temperament and souls, immediately giving the audience a strong wish to grab all of their friends and relatives by the hand and take them to the puppet theatre to share this little miracle with them.

Almanac “Dveri” #1-4. 2011-2012

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in the spotlight: backstage

“Let’s help the theatre die!”

Eventually the audience were treated to a variety revue, during which the teachers themselves along other guest actors demonstrated a funny skit about the destroyers of performances. “Let’s help the theatre die!” This phrase pronounced by those for whom theatre constitutes life sound ironic indeed. Answering the question whether the “Backstage” project will become an annual event the organizers

[50]

Almanac “Dveri” #1-4. 2011-2012

say a meaningful “yes”. Same “yes” is repeated by both the actors and the directors. One of the organiszers- Nadezda Ilkevich has as her goal an idea to turn “Backstage” into an internationaal event- something on which she already works very hard to achieve. It is her plan to create a new kind of art enabling the audience to participate in the performances, showing what it is that they want to see.

The editors of the “Doors” almanac all believe that this idea will definitely proof to be a very successful one. It is already clear to see that the result of the project’s organizers’ work has exceeded all expectations. The aim of the project is realized. The people are ready to accept a non-standard theatre, they are open to new trends in art. `it might sound like a little, but it is only the beginning.


Everlasting Love Big blue eyes, in which you are reflected. A gentle voice. Lyuba Zhuromskaya isn’t afraid of saying “I don’t know...” over and over again. She is a kind, open-hearted person — and a talented one, of course... Her answers are often unfinished, but when she starts speaking about her work all hesitation is gone. She is now going through a rather difficult period in her life, a period, when the life poses a lot of acute questions in front of her. But Lyuba is still smiling. Despite the fact that the most probable answer to those questions is “I don’t know...” Alena Ivanyushenko Photos by Evgenia Komarova Translation by Michael Molchanov Edition by Alexey Zhdanovich and Anastacia Suslova

Almanac “Dveri” #1-4. 2011-2012

[51]


IT IS SAID THAT ANYONE CAN STAGE A PLAY, SOME PEOPLE CAN STAGE TWO, A FEW PEOPLE CAN STAGE THREE, BUT TO STAGE HUNDREDS OF PLAYS YOU HAVE TO BE A PROFESSIONAL


conversation: lyubov zhuromskaya

Lyubov Zhuromskaya Director. Actress. Teacher. Born 1989, Minsk (Belarus). At the age of 11 she came to the “Rond” children’s theatre. At the age of 17 she became a codirector working with seniors. In 2006 she entered the Belarus State University of Arts and Culture majoring in theatrical art. She participated in educational programs and festivals (both film and theatre) in Poland, Lithuania, Germany, France, USA and Russia. Her dream is to become talented and to visit Africa, Australia, India, Japan, Siberia and South America. Awards 2010 “Centaur” International Film Festival (Tbilisi, Georgia) award for film “A Time to Gather Cans Together?” 2009 “Karusel” International Theatre Festival award for Best Company (“Such a” / “Takoi-to”). 2008 “Kinogran’” Film and Video Festival award for Best Feature Film (“The Sound Vanishing”) 2007 “Celinotograph” Short Film Festival grand prize for film “Butterfly”

— Could you introduce yourself ? I wonder how you describe yourself. — I am a director. I don’t feel like a student. Unfortunately, I’m not a loved or a loving one at the moment. I do love my family, but... The essence of my life is stage and film direction. Though, as for the stage part, there seems to be a crisis. We are conceiving a new play and organizing an international festival, but anyway... There are lots of things to do, but a sense of little dissatisfaction remains. I want to be a professional, to come to my actors and know how to direct

a performance, to not do it on a whim. It is said that anyone can stage a play, some people can stage two, a few people can stage three, but to stage hundreds of plays you have to be a professional. I understand some basics, I see what is good or bad, and I don’t want to produce anything one could call “amateurish”. But as for professional skills or knowledge, I don’t possess any yet... And such things bring me down... — What are you? — I don’t know what I am. I  don’t know whether I am gentle or firm... Let’s say, I am different. I  can be very kind, but I may get angry at a rehearsal and become quite firm. I like jokes, but my jokes are not funny, they’re... different. Many think that I am a “weirdo”... I don’t know what to call myself... Maybe “lost”... — Maybe not “lost”, but rather “seeking”? — Let’s hope so. Maybe I should keep growing up. I often behave like a kid. I don’t want to grow up, that’s why I’m hiding behind my childishness. — Do you often wear masks in life? — I wear them, that’s for sure. But I don’t know how often... Still, I’m an actress, so I can’t say right away, that I’m going to act, behave in this or that way. It’s rather an impulsive process. That’s why I don’t know whether I should consider them to be my masks or just different sides of my personality. I can be childish, I can be angry, unsociable and selfish — especially when I  don’t succeed in something — or I can be normal as well. I’d say, this is not about my masks — this is about my moodiness... — Theatre and you. How was the relationship formed?

— My mother heard about the intake to a children’s theatre on the radio. I was 11. So, I went there but didn’t like it. Then my mother said: “Try again”. So I did and that time I fell in love — not with the theatre itself, but with its director Irina Markova. She emphasized selfdevelopment over the theatre. Then I  began acting in amateur plays. When I was 17, we were invited to the festival, but we didn’t have any finished performances. I said: “Let’s stage something, then!”, and her response was: “Here you go. Take the troupe and work”. I finished the production in just a month, and it was the first Belorussian play at the international festival of children’s theatres ever. It was a really great event. 26 children’s theatres from all over the world took part in it and everything was at a very high level. Then there was one more... We staged a play “Such a \ Takoi-to”. We had to do everything without any assistance. For me, it was more about working with youngsters, than about theatre itself. At that festival, when I was 17, someone told me what a children’s theatre is. It is not the realization of failed ambitions of an adult director; it is when you serve the children, helping them to build their kingdom. And now I do not know... Our relationship became very complex. I  enjoyed the process and I still do. I  like to play, stage and work with the young. Yes. But right now it’s dying away in some way. I became an adult and I want to do more professional things. So I somehow got lost. — Which of your productions do you consider the most interesting one? — “Such a \ Takoi-to”... It was a kind of a micro revolution, when we changed the course of our work. Now it’s not me telling the actors “Go there! Do that!”, but rather me asking them: “What do you want to do?”. That’s why it ended up

Almanac “Dveri” #1-4. 2011-2012

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WHEN I WAS 17, I THOUGHT THAT A DIRECTOR IS A PERSON WHO CAN SHOUT LOUDLY


conversation: lyubov zhuromskaya

like... a hooligan holiday. The play is very lively. Probably, this is the best description. We performed it five or six times. It had never been the same. Before each performance we invent a new ending and introduce new ideas. We haven’t got any fixed lines; everything was worked out by the actors. They just came and said: “I want to tell about this”. And so we performed just what troubled them most at the moment. And the last performance of “Such a \ Takoi-to” at the “Doors” festival became my favorite. From the director’s point of view it was bad because of the missing ending. A girl just came on the scene and said that she didn’t believe in theatre, that she didn’t believe actors pushing themselves to the limit, that it could change something. But it sounded so desperately and so touching, to my mind.

you get a group of people whose top priority is the theatre, and when you’re doing something interesting for everybody, then you don’t need to worry about organization. It sounds well, of course, but it is very difficult in reality, though.

— How do you manage to find an approach to the actors? How do you organize their work? — I don’t know... I didn’t have to look for it. We trust each other and maintain good relationship. I am not trying to stage something mine, I don’t want to use them as tools. I want them to tell me what they are interested in and help them with it. When I was 17, I thought that a director is a person who can shout loudly. So I came to the rehearsals and always raised my voice. I thought that by behaving in this way I show them my power, but then I changed my mind... I understand that I could easily organize children, because the walls of the theatre created in 1983 supported me. Irina Markova put discipline above all. If you didn’t come, then you were dead. A lot of responsibility. And now, when new people join us I don’t even waste my time on some of them, because I know that they won’t stay. You can’t just go play football, then have a snack, and only then come to the theatre. The theatre should be the top priority... Thus, when

— What do you think about profession of theatre critics? Do we need it? — It’s hard to tell. What I’m going to say is wrong, but I don’t like criticism. I’m very sensitive to it. Of course, I’ve made use of some criticism I’ve got. Thus, I like criticism if it’s favorable, and I don’t if it’s disapproving. But as for criticism here, in Belarus, that’s another pair of shoes, I suppose. There are bad plays in professional theatres, but they get a lot of approval. It’s sad, but it happens quite often. And I do not understand, for what it is? I don’t know... Though, we do need critics. The mankind should analyze and summarize. I’d like to get only praises, but at the same time I want bad plays to be called ‘bad plays’.

— Aren’t you afraid of such responsibility? — I was. When I was 17 and we went to the festival in St. Petersburg. I was the only leader of our group. I was in charge, and it was the opening night of my first performance. I was very scared. But I  am not anymore. The actors have grown up, and I trust them. Now they are teaching me, they are clever and well-educated. The only fear that remained is the fear before performance. Probably, because we are always trying everything to be on the verge of our creative abilities.

— You started your work on “Such a \ Takoi-to” by asking the actors: “What prevents you from being happy?” And what about you? — Yes, there’s something... May be feeling of loneliness, when

you’re sort of lost and don’t know where to go or whether you have the power needed to go where you want to. I don’t have education, I  suppose. This university hasn’t produced any good, talented director or scriptwriter. I tried to enter VGIK (Russian State Institute of Cinematography) many times, but haven’t succeeded yet. Though, this year I felt myself coming closer, becoming more competitive. I was among the top five people who weren’t admitted. Also this year I entered the London Film Academy, the best one in Britain. But, unfortunately, I didn’t have a chance to go there. So, I don’t have education, and if I want to get it, I need some incredible coincidence, money... And without education, you only have to strongly believe in your own talent. But it is extremely difficult. Yes I had some inspiration so I’ve shot a film, which has got a prize, and then I’ve produced a play... But always comes tomorrow... and everything is tabula rasa... and lack of everything... Its regularly comes to mind: “What should I do next?”. So, now this is the main thing preventing me from being happy. But I’m trying not to focus on such thoughts. Some friend rings me up, and I immediately begin to laugh loudly. — Please, tell about your relationship with cinema. — One day our theatre has become a film school. As a teenager I started to get acquainted with the filming process, sometimes I acted in “Belarusfilm” films... Then came to a private film studio and helped there with film production. It was the first time I worked with a professional film crew. There, in 2008, I’ve met my teacher in directing, who is now my best friend, Irina Leopoldovna Pismennaya. She’s 75 years old... Then there was a standstill. I visited various festivals, project markets, and my craze was to “shoot a documentary”. I went Almanac “Dveri” #1-4. 2011-2012

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IF YOU LET YOURSELF TO HAVE A REST, YOU’LL HAVE THOSE DEPRESSING THOUGHTS AGAIN, ABOUT WHAT YOU SHOULD DO NEXT. AND SO YOU JUST WORKING AND WORKING AND WORKING


conversation: lyubov zhuromskaya

to Germany, met a French director there, followed him to Paris and acted in his film... Those were insignificant little projects, but they’ve slowly paved me the way to the cinema. But I often visited Irina Leopoldovna and complained to her, that I’m not talented at all and I can’t do anything. But this year a  breakthrough had happened and I understood that the hard work is a way to overcome depression. They invited me to the UN and asked me to shoot 5 short documentaries about how the departments of this organization operate here in Belarus. I was a  camera operator, a director, a   scriptwriter, a film editor... I just had to do everything. So I’ve made all these 5 films in a week. I didn’t sleep at all. And I was in high spirits that the people from UN liked my films very much. It was very encouraging. Then I began to make my own documentary about our theatre. It is titled “A Time to Gather Cans Together?”. I finished it and gave it to the children... They were just as happy as I was. Recently the film has triumphed at the students’ film festival in Georgia. Then the UN called me up again and offered to make a 26 minutes long documentary, so I had to go on filming trips for a month. I’ve made everything in time, everything was okay, and they loved it. I’ve also made a documentary about my grand-dad, and a series of feature films titled “Mashas”. All in all, there were 12 films made by me in October and November... There’s a  constant feedback, which brightens your mood. Also I was told that the French film I was acting in was admitted for a film festival in Rotterdam. This encouraged me a lot... And if you let yourself to have a  rest, you’ll have those depressing thoughts again, about what you should do next. And so you just working and working and working. —

Are

there

any

other

projects? — We’re preparing a festival in the Arts Academy, which is called “That very festival”. It’ll be the first international festival of alternative theatres. Our new friends from Germany, USA, Czech Republic, Slovakia and Poland will participate. We’ve created this event as a festival for non-repertory studio theatres in order to bypass the fad of age and professionalism. . We want it to be of a good-level, but it is rather difficult. People ask me: “Why are you constantly picking up new projects. Aren’t there enough?”. But I think, you mustn’t be passive — it’s very dangerous as it can absorb you all. — What is the most important thing for an artist? To open his soul, to give himself over to the public, or better try to change the world and to tell people something? — It always goes side by side. Kusturica once said: “A director is a person who presents reality from his own perspective”. Everything must be done well, in a talented way. If you want even more — to change the world — your work must be very frank and very personal. To affect people you must speak about your own problems. Everybody writes about themselves, everybody films about themselves. Maybe, not directly, but the problems and sore places are still present. And if you’re doing something in artificial way, it will not be good.

Royal theatre when he was 20. He wrote about how the actors didn’t want to take him seriously... But he had got over all the obstacles and achieved everything... — Do you believe in miracles? Have you experienced any? — I do. I feel like I’ve experienced a lot. A great event for me was film shooting in Paris. I entered the London Film Academy. Then the American embassy has chosen me to go on a visiting tour to the USA, and I was the only one from Belarus... There were a lot of miracles... I hitchhike a lot, and those trips are full of marvels. — What is your dream? — My dream is to be talented, to be on some ground from which you can push off and move on, further. Lyuba Zhuromskaya has a lot of works, grants and merits... Amazing is that it’s all about her, sweet 21-yearold girl who treats you with tea and is playing with her nephews. What is Lyuba Zhuromskaya’s secret? I didn’t ask her, but I think she will probably say “I don’t know...”, turning her eyes towards some remote place, where her only “self ” dwells. As for me, I think that her secrets lie in her constant search... She asks herself whether she is talented or not. She lives for the sake of creation and finds difficulty in defining her sources of inspiration. That’s her way: to live, to pose questions to herself and to look for the answers... I really hope she’ll find them eventually.

— Is there anything — or anybody — that inspires you? — It’s difficult to say... I think there is nothing and nobody inspiring me. When I’m sad, I’m trying to remember my friends or famous people who had overcome some hardships. And that makes me work. Some great films or plays inspire me, of course... Right now I’m thinking about Peter Brook who produced a play in a professional

Almanac “Dveri” #1-4. 2011-2012

[57]


Point of the contact Actors of amateur theatres explain why they are attracted to the theater

By Kate Karpitskaya Illustrator Kate Sapotko Translation by Alexey Zhdanovich

“Let’s all, the cue comes, embrace someone near us”. (Chak Palanik, “Fight club”) One of the main rules of anonymous clubs is to make a recovery by all means. And let this rule to be complied by all without exception. Here I could write a large article with my discourse, reflecting about the reasons for people without special education to become actors of amateur. But this was hardly what I really wanted to do. We had no intention to heal anyone, though everybody was a little bit crazy about theatre in the finest sense of this word. We sit down and hand to one another a toy drum. If you hold it, it’s your turn to speak. And the circle fills up with various stories.

Hello, I’m Sasha, and this is my story.

{Aleksandr Babako, system analyst. Amateur theatre “Klass-A”} He is intentionally sitting in the corner, making the circle angular. He is asking for some peas, smiles, jokes, scratches his nose and during the whole monolog twists the drum. “Class-A” has already existed for 20 years. From the beginning five troupes have changed since then, we are the fifth ones. And we won’t quit until talented newcomers take our place. Our theatre gave us a lot. Our troupe has visited a lot of countries and has performed in many places. It greatly develops one’s horizons. Theatre is a kind of competition, since the one has a natural desire for it. There is an actor in our theatre that is able to engross audience’s attention uninterruptedly for hours. His head is full of poems, stories

and interesting facts. I have always strived for such ability by learning poetry by heart and reading intensively, but everything was in vain. It’s impossible to catch up with him, but it’s quite a good stimulus for self-development. Some people claim that theatre consumes time. Objection! Theatre is over your time, you can’t state that it kills or wastes your time, as it’s for your own good. Nowhere else you can learn such a lot of new things. Sometimes it seems to me that the theatre gave me much more knowledge than the university did. I believe that theatre is a development and creative freedom. When I appear on stage, I completely get into my role, I stop being myself. Only my character lives. Альманах «Двери» №3

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Hi, my name is Yana, and this is my story. {Yana Ustina, art critic. Theatre “Jabberwocky”}

Narrates emotionally, expressively waving her arms like a conductor. Grabs her fingertips behind the head. I played in the theatre since my childhood. Although my father was a lawyer, and in general is almost the family profession, so I played the lawyers. I do not know whether it can be called a theatre, but a kind of prototype — completely. I finished three courses at the Law Faculty of Belarusian State University and was preparing to become a lawyer. At first I really liked it, but suddenly got tired (Hugs her knees.)

I took the documents from the university and entered the Institute of Culture. I really wanted more creativity and the flight of freedom. Then I graduated from the Institute with a specialty “Cultural Research.” Then it was the distribution and absolutely no creative flight of freedom. Once, my friend Alisa Ilushina (director of the theater “Jabberwocky — approx. Author) called me by the phone and stated in an order: “That’s all, Yana. You will attend my rehearsals!” And I do. By nature I am a depressed person. I always think about something. My head is just bursting from the thoughts. In the theatre, I can relax and stop thinking. I know it sounds strange, but to me it is a real pleasure. I want to do something! In the theatre, my thoughts turn into real actions.


Hey. My name is Eugene, and this is my story. {Eugene Shibinsky, student of Belarusian State University of Journalism. Theatre «Head-Foot»} Eugene turns the drum in his hands. Speaks clearly and quickly, like a machine gun. For me, the theatre began when I was 10 years old and when our class actively began to visit theatre performances. I loved it My first theatrical debuts also started when I was a kid. The action took place in the village. My mother, like any lazy parent, with great pleasure in the summer sent me to her grandmother in the village. And so did her brothers, sisters, friends... Every month me and my friends staged performances for our moms and dads. The eldest boy Alex was the screenwriter and the director. Changing of clothes, make-up and other theatrical stuff – I have tried it all. And about six months ago on the walls of the faculty of journalism appeared an announcement about the set of a university theatre. My classmate Mary said that we just have to try it. Why not? Theatre — this is something new. New people, new experiences. It’s just interesting. And I am quite happy with this situation. I can’t say that theatre takes great part of my life. Part — maybe. Interesting? Absolutely. Throws up his hands, what makes it clear: “I’m done”. The drum goes to the next hands.

Альманах «Двери» №3

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Hey. My name is Lena and this is my story.

{Elena Gorbachik, student of the Belarusian State Economic University. Theatre “Podmostki”}

Permanently smiling and tapping on the drum. There were some roles played in primary school. After entering the university theatre has become everything. I purposely went to the theatre studio. I wanted to know what is it and how it works. The first role was a monkey in the playtale. And when it was shown to the children, they were so sincerely happy that the energy was just rolling over. There were other roles, very unusual to me. And they all changed me a lot, gave something new. And now we are rehearsing a new play, where I first in my life, have the main role. While playing, I feel complete, whole, real. The theatre provides something missing in my life. Gives the experience of how to behave in certain situations. Gives a feeling of happiness, because on stage I’m always happy. This is an opportunity to be someone who you will never be able to be in real life. Gives energy, interesting acquaintances. Gives a lot. And if it suddenly disappears from life — I don’t really know what can replace it. Probably nothing.

I’m sitting with my mouth open, listening and occasionally asking questions. Quite strange and different people were able to talk, because it was the common point of the contact — Theatre.

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Альманах «Двери» №3. 2011


A Big Abstraction Text by Alena Ivanyushenko Photos by Marina Pashkovskaya Translation by Alexey Zhdanovich Alexey Strelnikov. Theatre critic, art manager. Cooperates with the Center of Belarusian Drama and Directing (Minsk) and such festivals as: «March-Contact» (Mogilev), «White Tower» (Brest), «Carousel» (Ryazan), and is also the organizer of «That Very Festival» (Minsk). “Good people make good plays. For me it is an axiom. Perhaps my colleagues do not share this opinion... And it doesn’t matter who are this good people. Whether they are professionals, amateurs, or just people passing by. There is a human organics, a human desire to say something. It is much more important than whether he is familiar with the Stanislavski system or not”.


IS HE A PROFESSIONAL OR AN AMATEUR? I DO NOT EVEN KNOW... IN FACT, IT’S A BIG ABSTRACTION.


conversation: alexey strelnikov

— Should we distinguish between amateur and professional theatre? — The theatre is very diverse. It is not only in the public theatres. I just saw a man in the transition, who was amazingly playing the accordion. He performs on the public, performs very unusual and delicate things, which touch the soul. Is he a professional or an amateur? I do not even know... In fact, it’s a big abstraction. — How do your colleagues, professional actors and directors, refer to the amateur theatres? — The problem lies elsewhere. It is not that professionals simply do not like amateur theater. We have a rare phenomenon when actors and directors, in principle, don’t go to the theatre. They don’t know what’s going on in amateur theater, do not know about new productions and names. Simply are not interested in it... We have a cultural space which is divided into cells. Everyone lives within a cell, everyone is happy with each other. We set a good performance, our viewers have seen it — it is wonderful. Yes, today too little attention is paid to amateur collectives. They need support, professional advice and master classes. Why not? It is not out of malice, but from some kind of disorder and disorganization of our theatrical life in general. In Minsk there were no children theatre festivals for more than two years. Why? No money? Opportunities? But such things are necessary! Children work, they need to be seen, it is important but only for them. Intense cultural life of the theatre is a regular communication between actors and audience and this communication is needed to happen more often. —And what problems exist in amateur theaters?

— We have a shortage of experimental theatre in the country. National academic theatre exists on the principle of factories for the production of plays. They have a plan, they fulfill it and don’t have time for all these “stupid” experiments. As a result, we practically don’t see bright and unusual theatrical events. This is where amateur groups should become more active: start staging the drama of the absurd, a new drama, foreign plays unknown to us, stage performances in the streets, in the dark, in water, outdoors, in basements, etc. But the amateur theatres don’t fill this gap. They stage Chekhov, some comedies of Ostrovsky… To be honest, here I am puzzled. — What is the difference between Belarusian and foreign amateur theatrical movement? — We have a big problem with the cultural identity. Generally speaking we do not know why do we need this culture. It is very easy to verify. If you just walk up to the man on the street and ask, “Are you willing to pay higher taxes for the sake of culture?”. I think he will be puzzled and ask, “Why?”. This question for some reason does not arise in Britain, Germany and USA. Because it is absolutely clear that not only the state but also the society should support cultural institutions. In the next decade we will have to develop such mechanisms. We do not realize how many social problems can be solved with the help of the theatre. Unfortunately, we are now in a situation when this very important thing is not understood by the people in charge.

which I saw at the Carousel’ festival in Ryazan, was very important for me as for the viewer, and also for the theatre critic. I think, in some way, this is the theatre of the future. They have returned to the original sources, when the actor sincerely talks with the audience. It is now on the lack. Last year I saw a performance “The Fifteen Minute Hamlet” by the theatre “Class A”. The great thing, which is very solidly made. The unique drama by Tom Stoppard, which can’t be seen in Minsk. This is a definite step forward in the development of absurdist material. Very interesting and very funny. I think, this is something that all our theatres will have to go through in the future. It is very important to me that such theatrical movement as “Dveri” has appeared in Belarus. It’s amazing but all these people can organize a lot of interesting projects without money. It’s great that the festival did not end with a simple show. Only by such communication, we can overcome the isolation and separation.

— What new have the amateur theatres brought you lately? What do you expect? — I met the “Rond” theatre, in an interesting, both for them and for me, period of life. I want to say that the performance “Takoi-to”,

Almanac “Dveri” #1-4. 2011-2012

[65]


An Unusual Theatre In Minsk

there is an extraordinary place where

reality and theatre intertwine forming quaint patterns, as in a kaleidoscope. It is situated next to the

Sportivnaya

underground station, works

“Joy of all who Sorrow” icon and is called “Social workshops”. The people who work there are unordinary — they are intellectually impaired. in affiliation with the church of the

For the second year running there exists a theatre. The students of the psychology department of the Belarusian State Pedagogic Universeity help the young people to realize their most challenging acting dreams

Text: Tatiana Yanushko

and

Ekaterina Potem-

kina

Translation: Anastasia Suslova

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Almanac “Dveri” #1-4. 2011-2012


A

s we started our work we realized that the theatrical guidance has to have a particular methodological framework to it, as one can’t only use one system of instruction to teach acting to the psychologically challenged. One has to take into account the specific features of each person and try to find a unique approach to a particular student. That is why the first stage of our production of the “There will be no winter” play by Viktor Olshansky was interaction. Using the try and error method we managed to discern the most effective methods and exercises. For example, we use Konstantin Stanislavsky’s and Nemirovich-Danchenko’s approach to the role based on personal experience, feelings and emotions. However we chose Mikhail Chekhov’s system as our principal scheme. The actor bases his performance on the character’s sensations, his physical activity, gestures, deeds. This helps the students to forget about the clichés and start to improvise. Mikhail Chekhov’s system spares the actors the need to refer to their own experience in order to represent a character, as in many cases the actor lacks this particular experience. It is also not very easy to always remember how you would behave in a particular situation. Chekhov’s system let’s one to simply stamp one’s foot, square one’s fists, raise one’s voice or strike an aggressive pose to create a character. Each class in the theatre opens with special exercises designed to develop the student’s creative potential. All exercises are conducted in the form of a game, which secures complete involvement, and active participation of the psychologically challenged people. Even though all the students are grown-ups they still become happy as small children at what is happening in class. In our warm-ups we pay attention to everything: body, voice, breathing, speech, imagination and fantasies. The process is very demanding and time-consuming, but the students are already used to this “acting” life. As the characters of our play – cats- are not ordinary, there’s plenty of room for imagination and dreams. If I were a cat what would I look like? And our students just come up with the necessary gestures. At the same time the characters acquire human traits, which will help the audience to better understand the characters. We also work on various sketches and skits, which we later stage in front of the audience. The unordinary people as they plunge into the incredible world of the theatre become unordinary actors. Aleksei Strelnikov, theatre critic on the “There will be no winter” play: “...To be honest simply following the storyline was very enjoyable. Everything was done with simplicity and honesty. Every actor has got a chance to play to the extent of his or her abilities. Sometimes there was too much text, but it sounded very interesting. I have a lot less professional issues with this play than with many others”.

Almanac “Dveri” #1-4. 2011-2012

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Lubitel Theatre

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Almanac “Dveri” #1-4. 2011-2012


Photographers Alexey Zhdanovich and Kyril Mazhay had thrown digital SLR cameras on the cupboard, picked up an old Soviet camera «Lubitel 2» and went to shoot II Festival of Amateur Theatre «Dveri». The experiments with the black and white film and usage of multiple exposures allowed them to look at the theatre in a completely different way. «Dveri» appreciated this experiment.

Theatre “Ordinary people”

Almanac “Dveri” #1-4. 2011-2012

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photo experiment

Theatre «artvoyage»

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Almanac “Dveri” #1-4. 2011-2012


Theatre “Parallel”

Almanac “Dveri” #1-4. 2011-2012

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photo experiment

Theatre “VKube”

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Almanac “Dveri” #1-4. 2011-2012


Theatre “VKube”

Almanac “Dveri” #1-4. 2011-2012

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photo experiment

Theatre “Parallel”

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Almanac “Dveri” #1-4. 2011-2012


Theatre “TUT”

Almanac “Dveri” #1-4. 2011-2012

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photo experiment

Theatre “TUT”

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Almanac “Dveri” #1-4. 2011-2012


Duet “CiGal’”

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фотографы и иллюстраторы

Marie Yakimovich

http://vk.com/id10744423

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Almanac “Dveri” #1-4. 2011-2012

Polly Hamster

Anton Suriapin

Evgenia Komarova

deadhamster@another.by

surapin@tut.by

itierra.85@gmail.com

http://facebook.com/ polly.hamster

www.bnp.by

http://vk.com/id7245420


Marina Pashkovskay

Kate Sapotko

winter_flower@list.ru

sapotsko_kat@tut.by

http://vk.com/id1599649

http://vk.com/id66512504

Lubitel-2 Alexey Zhdanovich http://lomography.com/ homes/dustdevil Kirill Mazhay http://lomography.com/ homes/domasi

Julia Novikova

ynov@tut.by

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использованные материалы

Non-periodical e-almanac “Dveri” is publicly available and publishing under Attribution-ShareAlike (by-sa) license. Attribution — You must attribute the work in the manner specified

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Almanac “Dveri” #1-4. 2011-2012

From “artvoyage” archeive

From “Ordinary people” archeive


2012


Almanac “Dveri” 1-4