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Saturday, December 3, 2016

One in Avignon Bo-Bo, and who — the tower of Babel


Hours-long performances, many screens, lots of naked genitals in the traditional and the incredible spaces — all the Avignon festival and its performances: and 60 only in the official (INN) programme. The details from the home of the festival of France — the observer “MK”.

Photo: Babel 7.16

70-th festival has dropped out to work in the emergency rule. On the streets it catches the eye of two things — became more military with machine guns patrolling the town and police. And, alas, less public. On the streets the crowd is not the density that usually. In the street cafes and restaurants problems with the places there, and the tickets for performances INN is also not in short supply. Due to the outflow of the audience has decreased dramatically and the number of street performers, who usually come to Provence for OFF-program. The people in the city, but as they say, “on chandeliers did not hang”. However, people can understand: they come to the theater, art, and all the while thinking: “if Only nothing happened.” No one knows where and when to explode, nothing is impossible to calculate, and this fear eats the soul. Okay that hurt the city’s economy, from which the festival gets the biggest benefit. So while it is better to talk about the artistic component that is the essence of any festival.

Still in the trend of long-running performances. Have the longest (duration 12 hours) the short name of “2666”. The young Prodigy Julien Gosselin (29 years old) presented the performance investigation on the famous novel by Chilean writer Roberto Bolano about a series of unresolved and continuing murders in Santa Teresa in Mexico. To transfer apocalyptically depicted by the author of the horrors of the twentieth century, and even through a lot of characters, Gosselin called on the help movie, which, of course, is not news. But his theatrical movie was the best. Rather to say that this movie in the theater: camera online without a tremor, and each frame (especially the black-and-white, especially close-UPS) looks to be a fragment of a detective. But young actors working in transparent pavilions, so sincere, that their enthusiasm pays off the lack of experience.

A very different camera from the Chilean Director Marco Layera in the play “the dictatorship of the hippies” (“La diktature du cool”) is a temperamental, hot. But… she’s a star, and what is in focus — new generation of intellectuals (curators, critics, experts, performers), self-satisfied Bohemians, imposing his taste. In Chile, this category has received the name “Bo-Bo”. However, Layer believes that this class is primarily present in the US and in France, but a social group with identical traits and values exists in other countries, although called differently. “How whatever they are called, their purpose is to humanize capitalism and build a real psevdogumanizma”, — said the Director. By the way, the piece was born in Berlin and inspired by the creativity of the writer Peter Weiss. Hand in this category new bourgeois, the Director does not spare her — on the stage of the satiric farce in the spirit of the glamorous discos, which the unfolding events. At the party on may 1 in Santiago de Chile (during the protest movements on the street) walks a small group of people who consider themselves the cultural elite of the capital. Suddenly it becomes known that one of the friends appointed to the post of Minister of culture, and the Bohemia announces his new Cabinet. Bohemia in shock: she’s overboard and not at the helm of the culture. What starts here: laughter and tears — on screen and on stage. Given the Latin American temperament, the degree of events and emotions through the roof. The embodiment of a fresh theatre, theme vivid, witty and provocative. But this is precisely the case when the banal nudity seems highly appropriate.


On the photo: 2666

But the leader of spectator success, of course, is the performance “Square of heroes” (“Place des heros”) in the production of the famous pole Christian loop with artists of the Lithuanian national drama. Last play writer Thomas Bernhard play is outside of the old Avignon, in Vedène, but a long journey does not bother anyone. “Heroes ‘ square” Bernhard wrote in the year before death. Its action takes place half a century after Hitler’s speech in Vienna in 1938. The staging of the play at the Vienna Burgtheater at the time caused an incredible scandal. It has not yet been published, and in front of the theater already held rallies against it. It and is clear: the author’s views and the official authorities on the role of Austria in world war II, attitudes toward Nazism, anti-Semitism is diametrically diverged. Suffice it to say that in his will the writer banned the publication and staging of his texts at home.

Of course, Lupe is an unsurpassed master with his style. His “heroes ‘ Square” without screens, any techniques and apparent dynamics. Time did not stand still, as if frozen in postwar Austria, where the family of Professor Schuster needs to go into exile in Oxford, where he, however, had once unsuccessfully tried to settle. And here’s the second attempt, but before departure, the Professor falls out of the window of his apartment. Suicide or accident? Tragedy, waiting for the funeral, finally, the burial — none of this on stage is not in sight, just talk about it. But three days of the same family as a mirror, in which appear the monstrous contours of history and modernity: the double standards, the variability of geopolitics and political fashion. All sparingly in the scenery, reserved, quiet game artists high-class. And individual role in the play from a musical score, subtly spelled out from the actual music, the sounds and noises of life outside the window and which in the final burst into the quiet house screaming, nasty voice of the dictator. Tough, but a deep psychological drama appreciated by a modern audience, accustomed today to other rhythms and speeds: on Lupe.


On the photo: heroes ‘ Square

As there are none in the Honorary courtyard of the papal Palace, where the final chord sounds “Wawel castle. 7.16” (“Babel 7.16) is the first directorial work of a Belgian choreographer of Moroccan origin, Sidi LaBrie Sharkaui. The original version of this play was made in 2010. And now she elegantly restored and updated at the main site of Avignon. Sounds, because Babylon with its tower of Babel children of different peoples on the same territory is not only contemporary dance, but also a rich musical palette, built mostly on the Eastern motifs and instrumental group and vocal.

The first directorial work of the choreographer, who worked on “Babylon” together with the Damien Thorn, showed us the most interesting wizard that has a special look and the ability to synthesize different kinds of art, sacral mount and computer. And although the topic taken for the study — difficulties of existence in one dimension, when technology is drastically changing every day world is complex and dramatic, entice the artist to the drama and tragedy, but the play is full of humor. And, of course, Sharkaui will not give up in inventive choreography, some scenes are powerful frescoes or, on the contrary, exemplary comics.

But those who still have not got on these and other performances, maybe not to despair: the exhibition developed in the Cathedral of Celestina, offers know-how for the audience. Put on the head is not a heavy device with glasses and the click of a button can end up inside the theatre life, actors, literally, around, close at your feet or over your head rehearse the play, which is included in the official program of the 70th festival d’avignon.

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