… -Press

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Articles about performance ". AFTER "Inžest Theatre:

Excerpts:

"The question is: which of the Belarusian theaters the most original and unusual, of course, answer-plastic Theatre" InŽest ". In his unique style fused techniques of pantomime, clownery, buffoonery and Butoh dance called dance depth, the dance of liberation from conventions, when the body becomes the voice of the secret movements of the soul. …

What is this? Energy that had not yet become material. Underworld, where our souls obtained before birth? That's the beauty of theater plastics that everyone is free to interpret what you see on your own. " ("Trud")

 

 

«… I was deeply struck by the ability of the actors to enter into some kind of trance state, disconnect from reality, leading us, the spectators, the mysterious corridors of the subconscious. Losing myself as a physical, material nature, beyond the thought processes, people-puppets, moving on stage, awaken in us the unconscious response, forcing feel their emotions, understand their State of mind. With-experience with-Genesis-that's what Theater Inozemtseva ...

The Director uses one of complex compositional techniques. His performance is like a Russian nesting doll, the casket in a casket. The upper part, bright and eccentric, dynamic and emotional, intended audience, configured for entertainment. "Here you have a catcher," seems to be author of the performance and offers the audience exciting and shocking tricks: stilts, masks, Fireworks, running and vanity. Their task is to bring the Viewer, call it instant physical, emotional response. Defying public morals, tradition, the creator of theatrical forms as if offers to play in freedom, in permissiveness, into anarchy. And Hall readily included in the show. But it is the top, "nanosnyj" layer. For him, like a rare flower among the mountain crevices, hides a more deep and philosophical theme. And before those who expose it, brought the true theatre of Vyacheslav Inozemtseva. The theatre is able to awaken high feelings, relieve the internal energy of the creator and the Viewer. "

(Natalya Vavilova, magazine "mastatstva")

 

 

«… Claustrophobia is embodied metaphor of a social cell.

Four actors leap out onstage straight from the room and fall into the magnetic field of a higher intelligence. Big brother if you want. They will participate in the experiment, which everyone is free to interpret in their own way: whether a reality show, or a bad dream, or fantastic dystopia ...

… There wonders, there's a clown wanders

the actors hang on chains.

For performances in inozemtseva viewers fly like moths to a flame. "

(Valentin Pepelyaev, "Sovetskaya Belorussia")

 

«… Somehow in my spare time I have reflected significant cases concerning typological characteristics of theatre "Inžest". Èpitetam, which give this group of journalists-like "experimental", "unconventional" and "avant-garde" is obviously not worth the trust. I thought that by analogy with copyright movies might b update and the notion of "author's Theatre". Identifying them cultural phenomenon, whose character every time

volûntaristski-depends on its creator because it exclusively at your own risk and decide what to do " (Ilya Svirin "Culture")

 

 

 

«… Žèst -Geta skarèn′ne wide, padparadkavan′ne he, uladžvan′ne adzìny ¢ wb vìdavočny vobraz celam. Bo ' tvaë ¢? ŭvahodzìc′, vobraz Yong intact pačynae dyktavac′ celu Jak pit byts ". PLâstyčny tèatAR asvojvae prastoru Jak nìâkì ìnšy. Menavìta Tama "ÌnŽèstgètak free pačuvaecca on film, Tama prastorakh IM easy going gètak adnavìc′ atmasfera Carnival. Sìntèzuûčy tèhnìku âponskaga dance tèatral′nymì w bout elemèntamì, bufanadaj, muzykaj I gratèskam, Grupa Ìnazemcava tèatar z′dzâjs′nâe Glory netèatral′naj have kraìne. "

 

Перевод –

«… The gesture is space exploration, submissive it connection in a single body with the Visual image. Because when your body enters the image, it begins to dictate how it to be ". Plastic Playhouse develops space like no other. That is why "InŽest" so freely in the vast square feels so im so easily resurrect carnival atmosphere. Synthesizing technique of Japanese Butoh Dance with theatrical elements, buffonadoj, music and grotesque, the glory group carries out neteatral′noj Theatre Inozemtseva country... "

(Misha Panin, Masha Zvyagina, "Belaruski Partyzan")

 

 

«… Theatre Inozemtseva always been closely to traditional scene: "InŽest" embarrass any framework: scenes, clothes, fashion, logic. Show "After" proved: there are no more frames.

"InŽest" once again showed their superiority in the class of Belarusian theater. "After" is the most effective, the most inventive, the most mysterious spectacle in the country to date. Every element, every second show brilliant skill theatre work with plastics, set design, costume, lighting, sound, video-with any, even very small and insignificant component of the event. This is a delicious, gourmet spectacle for connoisseurs, not diluted local flavor, cheap ideology and domestic traditions of theater. " (Oleg Donskoy (Andrey Kureychik) "belgazeta June 5, 2006)

 

"Personality and identity system that resists or obeys the system, the system that creates or devour their children, is a theme that occurs in different variations in almost every performance of plastic Theatre" InŽest ". This is natural, because the "InŽest" (or "gesture") originated in the early 1980 's as a form of disobedience, protesting the then System. The game and the carnival-like how to revive the dead "ritual" have become the main reference point for this theatrical troupe.

This "resistance" continues to this day. Not only because the system, having adapted to a new life, successfully continues its existence. "Baby" and he noticed that the system in principle underlies the material existence. Be it-the main rule of "games". The system can be obvious, in this case, it is easy to identify and even overcome (form of power as a system, as a system of society, etc.). But once you notice another invisible form. There is also a system of human physicality. The body restricts personal freedom, dictates the desire and will of the controls. In this case, which I why I? For the sake of peace, which will be next? From a series of endless questions-political, social, philosophical, religious-"weaved" performance ". After ".

Despite the gravity of history, the viewer will find not drama-the play declared as "real show". Tatsiana Arcìmovìč/ "Partyzan"

 

 

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