Theatre DaNet – a BBC documentary

At full speed, the box opened, cock-a-doodle-doo … Over here, over here, over here!
To me, to me, to me!
The square again, the scarf should lie down precisly. The puppy and kitten drove off,
The train was running and the wheels chattered,
The puppy and kitten together … In the summer the puppy and kitten drove
in a box to a dacha, The train was running and the wheels chattered,
The puppy and the kitten were bored… (St) Petersburg was actually always
a rigid cabinet-city, very strict.
It did not like experiments. But at the same time Petersburg with its architecture with its music, which always had a great tradition here, affected the citizens very intense. I felt the influence in simple walks
across the city. And Petersburg will in its theatrical,
studio oriented movement probably take a very clear,
theatrical position.
Create something new. You can say our theater is located
on a crossroad of tradition and innovation. This is very close to what happens in this house. Here, there are very good, human conditions. Here one can find many personalities,
artistic primarily. Everybody is searching around. Painting is very important for us,
we drew our attention on the local paintings.
At the minimum, in which our theater exists, it is picturesque. But the language of the theater is the “non-speech” language. And we speak the language, as they do with “non-speech”.
And this way they can accordingly be similar to us. I think the simpler and more minimalistic the medium,
the more accurate does the actor outline the problems of questions about Good and Evil at the particular moment,
which are human questions, without which there is no such questions in nature. Therefore man deals with these problems,
how far he is the good or the evil at the time. The mask is like a motif,
the mask is a painted figure.
But these have to be filled with life, because ..
the mask itself, it does not give,
it does not give the energy, which affects the viewer. The viewer will see and I …
I’m not thinking about it,
the most important on the stage is not to think about anything.
Once you start – everything disappears immediately. It’s probably difficult for me,
with the goal to think why and what for… But if you let yourself lead by intuition,
the viewer creates a lot more,
than you, as you think you give, he sees more. The mask is for me a very broad term. A very large energy concentrates in it
by the expression
with which we want to convey a type.
A mask and a subject are very similar, which is why I compared them. They lead us back to the archetypes,
to primary perceptions of all things on earth. This way the actor in our theater,
using the language of things,
wich is understandable to anybody,
narrates about the human life. That way the abstract good and evil become very tangible,
by using items – kind of grounded. We remove… for example an umbrella
is a mask of a storm, a big sun
or a heavy rain. In the theater, not the divine world is defined, not the space,
not the space of an architect – a town, a house, a room,
a stage, nor an area of culture,
but a space created due to the consumption of
the time of the actor. This particular space is important to me.

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