Visual theatre and performative practice
Chthonic
Ritual frescoes based on Slavic mythology and Russian folk tales
Slavic Baroque or what would happen if Russian history did not destroy itself.
As it happens, there is little documentary evidence left of pre-Christian Russia, and it is impossible to build a coherent narrative from it. The assumptions of folklorists and speculations of fiction writers can create an interesting picture of the world, which, unfortunately, reveals neither the era nor the way of thinking, except for the exploitation of images for the propaganda of nationalist ideas. But by untangling the knots of images and intonations, songs and tales, repeating bodily practices with different accents and observing their evolution, one can reach an archetypal level where mythology is only the atmosphere for the narrative. The story itself is constructed in the spectator's imagination based on personal experience and cultural background
The performance was created out of training and improvisation, and itself covered the theme of loss of identity on a generational level and the loss of love as a method of reconnection.
Idea, script, directing: Sasha Khromov
Composer & vocal teacher: Anna Bulgakova
Stage design, objects, costumes: Maria Matveeva
Kurgan state puppet theatre "Gulliver" Russia
As it happens, there is little documentary evidence left of pre-Christian Russia, and it is impossible to build a coherent narrative from it. The assumptions of folklorists and speculations of fiction writers can create an interesting picture of the world, which, unfortunately, reveals neither the era nor the way of thinking, except for the exploitation of images for the propaganda of nationalist ideas. But by untangling the knots of images and intonations, songs and tales, repeating bodily practices with different accents and observing their evolution, one can reach an archetypal level where mythology is only the atmosphere for the narrative. The story itself is constructed in the spectator's imagination based on personal experience and cultural background
The performance was created out of training and improvisation, and itself covered the theme of loss of identity on a generational level and the loss of love as a method of reconnection.
Idea, script, directing: Sasha Khromov
Composer & vocal teacher: Anna Bulgakova
Stage design, objects, costumes: Maria Matveeva
Kurgan state puppet theatre "Gulliver" Russia
Chthonic
God the Creator, together with his wife, the Goddess of Life and Love, created the world, other gods, people and all living and non-living, cognisable and non-cognisable things. God got carried away with the creation of the world and removed his wife from creation. His wife disappeared, in the core of his own creation, the world lost love, and God the Creator lost the meaning of his creation. So he went deep into his world, to search for his wife and sees how unloving between people, between gods, between the living and the lifeless is already consuming his creation.
Museum nights
In the ex-sculpture studio, now a contemporary art gallery, my theatre group metazero and I have been creating performances for 3 years. On museum night we were showing experimental works in the field of performative practices and visual theatre
We explored the possibilities of space, sound and visual images, the influence of time on perception and the work with polymorphic attention.
Museum Night took place once a year. Throughout the year, in training and rehearsals, we sometimes ventured into borderline aesthetic spaces and extreme conditions, which required separate attention and other methods of work. The questions arising from the category "What would happen if...?" also created certain forms and meanings. The answers were not enough for a complete performance, but enough to broaden one's own aesthetic understanding and performance potential. During each year such things accumulated and were put together in a big public performance, which took place on a Museum Night.
Many of the experimental works created a "metazero aesthetic" and my method of working with context, sensibility and meaning.
Museum Night took place once a year. Throughout the year, in training and rehearsals, we sometimes ventured into borderline aesthetic spaces and extreme conditions, which required separate attention and other methods of work. The questions arising from the category "What would happen if...?" also created certain forms and meanings. The answers were not enough for a complete performance, but enough to broaden one's own aesthetic understanding and performance potential. During each year such things accumulated and were put together in a big public performance, which took place on a Museum Night.
Many of the experimental works created a "metazero aesthetic" and my method of working with context, sensibility and meaning.
Communication
Pure presence. Experiences of comprehending performative practices
We have a based it on a performance of Marina Abramovic "The Artist in Present", and after exploring where we can find theatrical ways and methods
We were graduates of the puppet theatre department, having looked around at everything our colleagues doing and what we are able to do, we realised that we were in a deep crisis and that our art was secondary. Then we decided to start trying different disciplines in order to find a viving feeling, deep meanings and, most importantly, inspiration for becoming an Artist.
Like students in art school, we copied the work of those who in our opinion found something alive, deep and special, something that promised a revelation.
The performance "Communication" evolved into four types. The source became clear to us: this is where theatre begins and without which it cannot exist - without presence and without transgression. The four remaining active communications are text, song, music and dance
Like students in art school, we copied the work of those who in our opinion found something alive, deep and special, something that promised a revelation.
The performance "Communication" evolved into four types. The source became clear to us: this is where theatre begins and without which it cannot exist - without presence and without transgression. The four remaining active communications are text, song, music and dance
Pleased to meet you
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E-mail: morkhansky@gmail.com
