Soil sample

The Festival of the Actual Haos Theater was held in Novosibirsk for the second time- in the 2019 Forum, organized by the Old House Theater, focused on direct supplies of the resonant mainstream (performances of Konstantin Bogomolov) and the experiment (premiere of the " Poste Theater") from the capitals and abroad . This year, the Chaos program survived a serious upgrade: the art director of the festival Oksana Efremenko and the program director Anastasia Moskaleva collected the showcase of independent Novosibirsk theaters. One modern dance, one performance, one inclusive performance, two monospheres on modern plays and one more in modern prose, another laboratory show - the list of “cases” “Chaos” presents possible formats of the current theater as of the end of 2021.

The gesture itself - to collect the "new Siberian" in the collection - demonstrates the intention of the organizers to make the local more visible, but at the same time detects the lack of content or its elusion from the hands of the curators. The desire to introduce Negative quota “for everything Moscow”, clearly articulated by Peter Zherebtsov from the Central Committee at the conference dedicated to curators, is very clear and extremely popular today (the hashtag “Criticism of the Colonial Capture”). Probably, the project “48 hours of Novosibirsk” , created in cooperation with the Berlin festival “48 hours of Neukeln” and, with the support of the Goethe-Institute , manages to gather a large number of artists and activate the environment.

But the theater is more difficult: when after the showcase the so -called main program of the festival began, it turned out to be much more events in it, which cannot be attributed only to the “metropolitan resource”. In addition to the Bogomolovsky “demons” (theater on Bronnaya), it included auto -flexed Artem Tomilov from the Omsk “Fifth Theater”, “Committee of the sad deity” “Theater Post ”, “Miserable Dances” of the more or less homeless theater of the “Old House” - the “Golden Mask” “Dancing in the dark” Elizabeth Bondar. The landscape of the “chaos” looks interesting: in it one was mating with the other, the “resource” - with the poor, conventional - with an informat, straightforwardly relevant agenda - with conceptual; What was not enough there is Siberian, made by Siberian, and not visiting artists.

In the Siberian focus of “chaos” there is a prospect - the individuality of energy and the power of the undertaking that artists are moving hint at it.

In this sense, the Omsk “Artem Tomilov”, made, as it seems, in the continuation and development of the method of documentary theater, is engaged in cartography of the place through the hero’s individual consciousness. The focus here is that the auto -packed, generated by the director (he is the hero of the play), is distributed to all participants in the performance. In the appropriation or alienation mode, thirteen actors are approaching the evaporation of someone else's consciousness and body and move away from them, showing in the matter of the matter of some characteristic gesture of Artem Tomilov or poppying his intonation. The whole performance actors move according to evidence, selectively, but detailedly fixing the process of finding the hero in one or another area of ​​their native city and the situation of meetings with certain people, memories that are overlapping in the picture of the present, are gradually in the general space of the unusual experience of comprehending themselves and others. Documentary performances about cities and villages were popular in zero and tenths; A purely individual optics was chosen in Artem Tomilov, and it - as it seems - can be scaled for the study of any place.

The page dedicated to the showcase on the official website of Chaos tells the background of the movement of the Novosibirsk non -governmental theater. She is rich in events, names and loops: Alexander Andriyashkin, Katya Basalaeva, the Sib-Alter festival, Sergey Chekhov and producer Julia Churilova- the life of the 2000s and 2010s was both rich and interesting. Then, as usual in Russia, failure-and here is an attempt-2021 , which collected informal art by bit. This attempt of the “chaos” is a curatorial, it was made on top of it, including from the desire to give a signal that young interesting artists should have fled to. Why they don’t run away, why they were not too many as a result - I don’t know.

The showcase program stood out two independent in its artistic image, very conscious and interesting works - the “place” Glyptic Dance Company and "[the cheese of the Earth] Barry. Chapter 2 ”, the collective opus of Polina Kardimon and her co-author-performers.

The choreography of the “place” was composed by Anna Hirina, together with her students in the Novosibirsk College of Culture and is a free post -tanker in vocabulary, framed by a special effect with the spraying rice and reflecting on the etymology of the word and the concept of “place” in different angles and with different optics. The output turned out to be a 45-minute sensual and intellectual experience, made by the hand of a perfectionist living in the context of relevant danceproxing.

The second part of the “rocker”, just nominated for the “golden mask - 2022” in the category “Experiment”, is an exquisite conceptual action on the topic of death and the ability to survive the care of a loved one fully. That is, as modern culture does not allow: sprouting funeral folklore, the performers of the performance are as performers, whose pathetics and purely physical power of presence reduce or comment on the titers running around the screen, but also as a person who are not hiding behind acting equipment. In the credits, there are doubts and questions that disturb the creators of "[raw land]" and specifically - Polina Cardimon, who with a simple and beautiful gesture reveals the meaning of songs and rituals again, but also recognizes for himself in ignorance, misunderstanding and indifference. Both works, "place" and "[the cheese of the Earth]", are valuable, of course, by the fact that they were born not in Moscow, but in the capital of Siberia. But even more - frankness and calm honesty in relation to oneself.

In the Siberian focus of “chaos” there is a prospect - the individuality of energy and the power of the undertaking that artists are moving hint at it. At the same time, he highlighted the unfriendlyness of the urban cultural environment to his own “theaters”, in which, apparently, so far everything is not too smooth that with the “place”. How this site sitstric dramaturgy will develop further, the “chaos 2023” will show.