ЗОЛОТАЯ МАСКА - ФЕСТИВАЛЬ И ПРЕМИЯ
Mikhail Durnenkov

MOMENTS

Meyerhold Centre, Moscow

Участник программы «Russian Case» Фестиваля 2015 года


Director: Olga Tsvetkova

Set designer: Konstantin Lipatov



It seems that for the first time in choreographic practice such a profound insight into the principles of dodecaphony was made. In fact, the creative team is implementing the idea of pure theatre. Four performers improvise in an empty space having to deal with the most complex system of rules and exceptions which one can read in their intensive inaction. Dramaturgy, music, choreography are not provided, but still quite possible. By the means of its mechanics and spontaneously occurring and self-destructing composition, the play speaks about the total lack of freedom.

Alexei Kiselev





This is a performance-meditation, a performance-research. No one is going to entertain and enthrall the audience; they will be offered the role of detached observes. Four actors are, to an extent, experimental characters. "I was interested to explore the state of hypersensitivity of the actors to their own internal state and to the environment’, says Olga Tsvetkova".

Gazeta.ru






….The sophisticated forty-minute work of chaotic following the energy point and relaxation is not an easy task for the performers. In order for such experiments to turn into a piece of art, it requires more than just the potential of and ordinary person. Professionalism testifies itself in being well trained and precise in movements, perfect body and energy. These "moments" rather talk about inter-moment space when nothing is yet ready, but "anything may happen".

Teatral






Four performers were reclining on the floor of the Meyerhold Centre, and after the audience was seated on the four sides of the auditorium, the performers began to move. Or rather, they started to warm up - their first motions looked very much like stretching of stiff members. Gradually the bodies would warm up and get ready, two young men and two women felt more and more confident under the indifferent light of fluorescent tubes that were lighting up on the ceiling in different combinations. Their bodies would awkwardly and sharply screw and unscrew, the arms were as if fighting the air. Each of the performers seemed to alternately lose and regain the centre of gravity. Gradually they began to notice each other, and the seriousness of the first minutes when it seemed that the four of them are serving certain sublime cult would give way to a game where everyone felt a little guilty.


Kommersant Newspaper