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The North remembers
Theatrical festival "Territory. Magadan "reminded Magadan of the glorious theatrical traditions of the past and opened the way to the future of contemporary art
Photo: Performance "Magadan / Cabaret" / festival "Territory. Magadan »
In 90's outside the capitals, seeing something older than Chekhov was problematic: novice directors, modern drama - there were no such words in the theater vocabulary, nor was there any particular alternative to the Three Sisters. Gradually, the matter got off the ground, but nevertheless, deliverance from provincialism proceeds slowly. This is exactly the case when space works against art: if decentralization in France, where the train went to the other end of the country 4 – 5 hours long and easy, then in Russia, with distances of thousands of kilometers, it is easier to bring a good performance closer to center than to lure someone over the Urals.
One of those who undertook to correct this injustice is the festival Territory. When everything was just beginning, 12 years ago, even in Moscow about such, for example, phenomenon as site specific, had a very remote view, whereas to the east of the modern theater sometimes there was simply no physical opportunity to learn. It was then that Yevgeny Mironov, Roman Dolzhansky and Kirill Serebrennikov (who, incidentally, came up with the name of the festival) took up the expansion of the borders. The idea is simple: initially, the Territory was created not just as a review, but as a festival-school, a completely new phenomenon at that time in Russia: according to preliminary applications, students from all over the country are selected to work, for example, with Thomas Ostermeier or participate in master class of Declan Donnellana. It is clear that the young director from Chelyabinsk or Ufa is unlikely to be able to learn all the tricks of the new drama in two hours, but such a task was not put. The main goal is to maximally expand the boundaries, to show the "other" theater, to bring together different generations of artists at one point and to allow them to search for a new language, new meanings and forms without any restrictions.
The main venue of the Territory is Moscow, where the festival will be held on 12 – 24 of October, but the project’s geography is growing: CIS countries, teams from different regions of Russia are taking part in it. This year, thanks to the support of the gold mining company Polyus, it reached Magadan. It came, above all, with a very extensive educational program. Timofey Kulyabin from Novosibirsk, the director of the “Tannhäuser”, who showed his “Process” in the past “Territory”, conducts a master class here that he knows how best of all: how to find new circumstances for classic heroes. There are three interesting lectures about modern theater: the art director of the festival Roman Dolzhansky speaks about modern theater as a synthesis of arts, the editor of Theater magazine Alla Shenderova talks about the main names of the direction of recent years, and the theater commentator Elena Smorodinova talks about versatile verbatim. And yet, the lion's part of the program is given to theatrical management: here both modern communication, and long-term project planning, and fundraising are all that is needed to invent, create and, overcoming all bureaucratic and financial barricades, embody an artistic product.
"I am very happy that for the first time in its 12 years Territory has reached the Far East. It's no secret that the best performances, the best films are made not only in Moscow and St. Petersburg, as it was before, but decentralization is taking place. This means that now the centers of culture break out in different cities, different parts of our very large country. And now the festival of contemporary art is taking place in the Far East, - actor Yevgeny Mironov, one of the creators of the festival, turned to viewers and participants of the project.
As for the stage program itself, it is easily divided into two blocks: the first - gold-bearing performances from Moscow and Kostroma, the second - theaters from the regions, the finalists of the theatrical competition “Polyus. Golden Season "(held by Polyus in the regions of presence). “Performances of different genres are presented: there is a drama theater, an author's theater, and a theater dealing with contemporary directing - Praktika, and musical pages presented by the Bolshoi Theater, and dance performances of contemporary dance from Kostroma. - explains Roman Dolzhansky, art director of the festival. - It seems to me that this program, although small, turned out to be quite representative. All performances are recognized, and the performance "Magadan / Cabaret" by the Moscow theater Near the Stanislavsky House is the winner of the Golden Mask in the nomination "Small Form". "Dialogue Dance" from Kostroma is a multiple winner of the Golden Mask. "
Opened the festival with the performance "How the Zoe Geese Feeded" the Cheremkhovo Theater, with a glance from the Irkutsk Region, surveying the story of how the 100-year-old Zoya, still not dying, the intellectual-son of her, stolen by her, and what will happen in a moss-covered apartment , if in this small world to bring a small hurricane in the face of the provincial Masha, which reminded the audience that in the world, it turns out, there is love - quite a good thing. Svetlana Bazhenova's play appeared only two years ago, but managed to fall in love with Russia, starting with the author's statement on the stage of the CSD in Yekaterinburg, where she got to Saratov through the creative laboratory, and then to Cheremkhovo - a still recognizable picture of everyday life and the eternal thought of that , as all the same I want to love, today more than ever.
The next festival day, the Krasnoyarsk Theater “Search” again speaks of adult sons under vigilant maternal care, but this time it is serious. The production of “Small Money” was included in the 2017 Golden Mask out-of-year program. Social theater unfolds the picture “mother-son” on 180 °: Jason has autism, and without a mother, literally explaining on his fingers how to survive in this terrible world, without outside help, even simply without wanting to help, he cannot cope.
Moscow brought comfort, warmth and Russia to Kolyma: "Magadan / Cabaret" of the theater "Near the House of Stanislavsky" and "Grandmothers" of the "Practice". The first, the laureate of the Golden Mask, erects on the stage something like an abandoned auditorium from somewhere in 1970, in which seven people sing bard songs about the end of the world, sea and exile, peel potatoes in their uniforms and love everything as it is there is, resulting in something avant-garde, but permeated with native Soviet romance. Particularly accurately hit the audience is felt in Magadan: the hall is almost singing along, remembering by ear the familiar from childhood motifs.
For Grandmas, the avant-garde outweighs all the same, but in the end, it all begins with touching archetypical Siberian old women in handkerchiefs sitting on a bench, as if on a perch. Dangling their legs in felt boots, they tell and reconstruct the world of the Russian village, with its cows, their drinking husbands, their unshared love for a guitarist — so far away and at the same time familiar.
Somewhat apart from all this trembling background Kostroma "Mirliflor" of the company "Dialogue Dance" looks - which is logical, still put Belgian Karin Ponties. Modern dance, one chair and four people on stage are not about Russia at all, nor about any country at all, because about love, about the inner, which is in everyone, and it does not matter where.
A special surprise for the residents of the region was an art exhibition brought in the framework of the festival by the Moscow Museum of Modern Art. The exhibition of works by Vasily Shukhaev "Theater - territory of freedom" has more than 80 works, among which are those that the master created on Kolyma, where he spent about 12 years. Vasily Shukhaev stood at the origins of the creation of the Magadan Drama Theater.
Course to the East
The appearance of the "Territory" in Magadan, if we consider it in the context of the theater in the Far East for the last two years, is much more than just performances and lectures. This is the continuation of the vector, the beginning of which coincided with the appearance of the Primorsky Mariinsky Theater Stage in Vladivostok a year and a half ago (strictly speaking, the stage itself was already part of the opera and ballet theater, only the status has changed), and together with it Valery Gergiev, in the first summer gathered in Primorye international festival of classical music. It was followed by a branch of the Academy of Russian Ballet A.Ya. Vaganova, ballet school, designed to supplement the theaters with local soloists. As a result, for a couple of years, the forgotten Far East returned to the theatrical context.
It is gratifying that the event has not a one-time character, and should become annual, albeit it will be held alternately in four different cities. "The" Pole "operates in the Krasnoyarsk Territory, the Irkutsk region, Yakutia and the Magadan region. We planned to conduct the "Territory" as a theater festival in all regions of our presence. Next year we are preparing for Irkutsk, but in any case, I think that the festival will one day return to Magadan, "said Victoria Vasilieva, director of public relations at Polyus.
Speaking about the development of the cultural life of the East of Russia, one can not but mention other genres of art. So, the Sakhalin Film Festival "The Edge of the World" is gaining popularity, it has already received international recognition and attracts participants from many countries of the Asia-Pacific region. This year, the creation of the Far Eastern branch was reported by the Tretyakov Gallery, reflected on the creation of an art gallery and the Magadan Region.