Theater. All the world is a stage...
"The problem of translating Turgenev's classic prose into the language of the theater - this problem terribly interests me: how to create a tender, lyrical, conditional — with all realism — environment? How to translate Turgenev’s descriptions of nature into the language of the theater?! The imperfection of the theater — and its perfection, which suddenly makes its way through our everyday theater life, stupid and funny. The human enthusiasm for theater on the verge of fanaticism is also a sin, because behind this fanaticism you don’t see much much that concerns life, but it’s also happiness. After all, the theater is an amazing place, there can be nature, and life, and death, and love, and God, and hell, and an angel. This is what we would like to do a performance about. And, in general, it is about love. About the love of the theater and people. And how one can be to the detriment of the other".
* Comedy del arte (Italian commedia dell'arte), or comedy of masks, is a type of Italian folk theater, the performances of which were created by improvisation with the participation of actors dressed in masks and based on a script containing a short plot scheme of the performance.
June 5, 2019, Red Square. A new concert performance of the Sami community — Cultural Invasion. The following people are involved in the performance: Daniil Strakhov, Sergey Shnyrev, Irina Pegova, Alexey Aigui and the Ensemble 4'33 ". Poems: Osip Mandelstam, Anna Akhmatova, Boris Pasternak, Joseph Brodsky, Alexander Kushner, Gennady Shpalikov, Vladimir Gandelsman, Boris Ryzhego Daniil Strakhov.
The performance is the final part of the trilogy dedicated to the history of migrant heroes traveling the world in search of a better life. It has already visited 27 countries and won the Grand Prix at the MiramirO International Festival and a prize at the International Street Theater Festival in Ghent (Belgium).
Actors about their work (interview in Moscow):
— What we do is based on careful consideration of people, when you see a person — you attach him to yourself. We learn to listen to others and engage them in our space. If the person who participates in the play is not involved, everything collapses, because then the unity of the play does not arise. It is important that not only the team behave in this way, but also the audience, otherwise nothing will work. We are constantly on the verge of failure and must accept this possibility of failure; we are on a very fine line. This is the magic and risk that we must accept.
The heroes of the play “Habitaculum” arrive in a new country and a new city, find here a house in which they want to stay. Spectators get into this house and freely move from room to room, get acquainted with its inhabitants, their lifestyle and take a direct part in the life of the house.
The Kamchàtka Theater was created by a group of actors of different nationalities and creative disciplines, united around the director Adrian Schwarstein to understand the possibilities of street theater improvisation in relation to the theme of immigration. Over the past eight months, the theater has toured in various cities of Brazil, Belgium, Chile, Ireland, India and Germany. For the first time, the Kamchàtka Theater came to Moscow in 2016, when all tickets for five performances of the Fugit performance were sold long before the shows. The Kamchàtka Theater is touring with the support of the Moscow City Department of Culture, the Embassy of Spain in Russia, the Cervantes Institute, the Union of Theater Workers of the Russian Federation and the Spanish Institute of Tourism.
George Bezborodov. Theatrical photographs.