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Tuesday, March 13, 2018

The power of the doll in its simultaneous being and nothingness

All puppeteers are philosophers, it only seems that way sometimes, Bala-Bala, a voice behind the screen, a hand in the dark… and the end of the show. But the doll came to life, it is sometimes necessary to turn the whole world. And it was proved the famous actor and Director from France, Nicolas Guseff, arrived at a master class in theatre. Obraztsova — at the VIII international festival of puppet theatres.

photo: facebook.com

Nicolas Guseff

— Here after all, France’s own puppet school, or everything is so blurred and globalized that even funny to talk about any national differences?

— No, there is a French specificity and it is connected primarily with the Institute of puppetry in Charleville-mézières, which is almost 30 years old. I was in the first issue of this school, followed the development of the genre of the years, and, of course, the difference of Charleville and theatre, and German or Italian schools is very large. For example, in Russia historically very high visual puppet culture, which is reflected in the modeling of the figures, the vision of dolls as sculptures and so on. In France the situation is different: we have no culture to expose the doll in the figure.

— Yes, but… what then are born out of sense?

In Charleville-mézières, we explore what is a doll actually, what it carries — and this understanding goes beyond figuresthe. For me it is important that playwrights are writing plays that are extremely difficult to put on a normal DreamScene. But just a puppet thinking gives the solution for the production, which undoubtedly enriches doll art. And, interestingly, most dramatic scene closely following our experiments, learning from the experience with a new drama. And I myself, in fact, go on this way — combine drama and puppet beginning.

— What kind of texts, for example, can we talk?

Well let’s say, the plays of such famous contemporary author Valerie Novarina: they are very often used invented language and metaphysical motives. For example, the character is a phrase: “Ask your body about what is inside him.” If just some actor from the stage says it is complicated to understand, funny… And I asked the doll, the actor, that is, the body of a living person is a part of the scenography. Moreover, the doll has no face, everything here is cut a hole in it. And after the question — “what is inside the body?” doll this hole bites into the heart of the actor. There is a more accurate philosophical interpretation of the text.

— It is about France, we know that all of your cultural institutions from small to large are on guard of the native language. And you, putting such complex things, also promote the French?

— Of course. Than work on Novarina important — I like the language itself. Language begins to act as an independent hero. For example, we do not speak in the play “go for a walk on the boulevards,” but “come popularise”. Novarina States that “the word provokes a thing.” If I say to you — “close your eyes, and imagine a little white house,” you immediately see it. That is, the word — visually. And theatrical word there is always a certain efficiency, self-sufficiency, as Novarina writes: “First words-words-words, too many words, and then… still come to silence. And in this silence we need to listen to the earth.”

— There is in France a natural genre variety show/cabaret, which is not in Russia. He (genre) affects puppet art? You are there as part of some big program, along with chanson and circus?

Cabaret than comfortable — where you can make a lot of genres, and it is very practical. In times of crisis, it helps very much, because it’s easy to make the play in this format; the doll have by the way, the genre is very mobile. But on their own, without a crisis, to resort to the cabaret don’t want to, because I understand the pressure, there can be no experiments… also taken in all kabaretnyh genres have more to say about politics, the show has always been relevant, meet the demands of the time.

— As for the queries — French puppeteers pay attention to the problem of refugees, and other challenges?

— And how. Many of my colleagues are working actively to Calais (the place where the refugees are ferried to England). But me personally closer to the metaphorical language, because it has more theatrics: I’ve always said that “theatre should force to dream, to dream”. Now theaters are going through a difficult time, and the audience is very sensitive. Life is hard, people everywhere sees and hears the roar of explosions and violence, and if he comes to the theater, and theater is the same, it turns out that we will reach people eventually. You have to be kind. It is necessary to remove the aggression. The theatre needs to show strength, but that strength is in unity.

— In the ending of your performances — a point or dot?

— I, of course, close an open end. But accents should be clearly marked. One must always ask — why? Why is this building built this way? Why such a beautiful morning? Why you such? All must search for meaning. I even have a setting with the same name — “Meaning”, this is a performance laboratory which develops you; there’s a lot of work with light — object that appears and as suddenly disappears. You need to provoke the audience into certain emotions, all the emotion of surprise causes the idea to work quickly. At some point during the “Sense” we force the audience to write the dictation, he chose the text and not about understanding the Universe. Moreover, please make the maximum number of grammatical errors.


— These errors transformirovalsya in new words and meanings. And then, please write your wish, your dream… who wrote — takes the stage on a picnic, maybe there is something to eat and drink, while listening to music, birds singing, to feel good about. And then all fit on the stage and if you look at the stars — the light bulbs randomly hung in space… And then everyone starts to read the recorded dreams and desires. And in this moment, we give people the star-rays of to everyone in the audience connected with my dream, as it connects the earth and sky, real and desired. A sense… it’s very easy to be HERE. Here. To be alive, to be together with others. It is the reference point from which it starts.

— Still doll — a living creature or not?

For me, inanimate. However… the Doll is the most fantastic tool for human connection with the past, with nature, with death, with God… the doll helps to understand that we are in the Universe. And the richness of the doll is her mind. The knowledge that, on the one hand, it is like living on stage, and on the other, no. It integrates to be AND NOT BE simultaneously. There is no “OR.” To be and not to be together. And this essence has always fascinated me. The doll can say, “I don’t love my cane, I do not like his glove, who is there for me? And this hand that leads me, she scratches me so nasty. I’m all itchy. Though I don’t exist, what do you want from me?”. I was greeted in Japanese culture the concept of “fukusa”: both the existence and non-existence. For doll this is the most important quality, because it’s… power. She tells the audience: “I do not exist, but you listen to me!”. Only you will die soon… and I was already three thousand years. I ran Plato, he is a very good puppeteer…


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