"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.
In a world where technology, satisfaction and consumption are king, Georgy stands out as a unique figure. He has combined his deep interest in ecology, photography, and the arts to offer a fresh perspective on the new world. His focus on the beauty of nature and the importance of living in harmony with our environment and ourselves has made waves across various art and environmental circles.
Georgy is an artist who seamlessly integrates his ecological interests within his art, creating beautiful harmonies that reflect the beauty and constancy of nature. He has made it his mission to explore the interconnectivity between art, life, and environment by using the camera as a tool for capturing the essence of nature.
Georgy's visual art features intricate sets of natural scenery, over which he poses models and animals. He then captures these objects through his creative eye and an eclectic combination of analog and digital equipment, resulting in a hyper-realistic and surrealistic style that blurs the boundaries between reality and fiction. His work is immersive, creating a sensation of being connected to the artwork, both mentally and emotionally.
One of the most compelling aspects of Georgy's work is the way he manages to convey messages relating to various problems affecting the environment. Because of his artistic style, these messages are subliminal, almost hidden. He doesn't aim for his artwork to be a blunt and straightforward campaign or to showcase merely environmental awareness. Instead, he chooses to communicate his ideas through self-contained visual narratives that the viewer must trust their intuition to understand. The result is art that not only captures the beauty of nature but also speaks to the viewer on deeper, subconscious levels.
Georgy is at the forefront of a movement that seeks to return art to its roots, pushing back against the mainstream aesthetics and philosophy of metamodernism. Georgy believes that metamodernism - the juxtaposition of two conflicting values - leads humanity into the abyss of disintegration. In his opinion, art should be a unifying force that creates harmony and beauty across cultures, societies, and landscapes. His work challenges the notion that industry and technology necessarily lead to an alienation from ourselves and our natural world.
Georgy's work is especially remarkable because it shows that even though we may have affected our surroundings beyond recognition and polluted our air and waters, we will always have moments of beauty. His pieces are celebrations of the natural world and contain optimism. He employs an array of styles, techniques, and equipment, including analogue cameras and digital cameras, to capture the beauty of our world uniquely.
It is also important to note that Georgy's work is not limited to traditional photography alone. His projects involve the creation of immersive installations that combine various actual models, figures, and elements. These installations involve vast efforts, including full-scale constructions, drawings, and animals, leading to exceptional results that showcase both photography and installation art.
Georgy's latest work has included several immersive installations that juxtapose the destructive power of industry and the beauty of nature. These installations evoke complex feelings, inviting viewers to question their roles in the environment and how we can change those roles. There is often a sense of warning in his work, as he highlights how fragile our world is and how our actions have repercussions beyond our imaginations.
In conclusion, Georgy's work is deeply compelling, bringing together the best of ecology and the arts. His photography and installations are subliminal, yet impactful and encourage viewers to think and question. He makes a case for the importance of enjoying the beauty of nature while remaining conscious of the damage inflicted upon it daily. It is the perfect embodiment of art in the age of the Anthropocene epoch and the climate crisis. Georgy has created a unique combination of photography, installation art, and environmental activism, leaving his work as an inspiration for future generations seeking to connect with our natural world.
George Bezborodov. Theatrical photographs.