Maya Krylova. Cooking on the roof

The performance of the STOMP shown in the youth palace is a successfully knocked out spectacle in which a throw is inseparable from a clear structure, and the dynamics is a consequence of the synthesis of arts. The spirit of Broadway always hovers over such productions. Even if they, as in the case of STOMP, receive the British government award "for the extra -bed show" (as well as the prizes of four theatrical festivals and the Emmy Award as a crown of recognition).

STOMP (from the English "stomp") - the project of the drummer Luke Krugella and director Steve McNicolas, first shown in Brighton in 1991. The authors began the theater career in the Pukennakenburger Street ensemble. Comedy street musicals shown in the off-program of the Edinburgh festival brought them fame. A sample of the game on garbage instruments was first tested by them in a commercial for the Heineken beer empire. There were video clips in defense of the environment and show on a floating pontoon in the center of Glasgow. The authors were especially proud of the scope: the chorus of the Brighton festival, the string group of the symphonic orchestra and a group of shock from 120 instruments participated in the view.

The STOMP show has gained frenzied popularity, and this is a kind of well -found reception. It still never occurred to anyone that the bacchanalia of the drum rhythm could bring such income and cause childhood delight even among observers of the conservative Finacial Times . For 10 years, the authors of the idea have been operating the scenic masks found in tour tours, films and advertising actions.

Eight people, in the appearance of shabby scorchers, extract all kinds of sounds from all kinds of objects and stage coating. In addition to selfless musical knocking, nothing happens on the stage. True, nameless characters play in immobility and dancing, on the front edge of the stage and from behind the curtains. One of the heroes periodically turns to the audience: the hall must quickly respond to the sores set by the hero in the hands. The quarters of the drummers on matchboxes, the chorodniks, sextiles of players on their own foreheads are created and decayed. Picture, strictly in the rhythm, collect garbage and are equally displayed again. You can create atonal music and minimalist, if you scrap your hand in a rubber glove along the bottom of the kitchen sink. At some point, the “informers” become circusages and climb under the roof itself, with a frantic drive of a hammer along a tin wall and hung objects: road signs, street signs and lids from garbage tanks.

To participate in this performance, one must have the universality of the actor of the musical: only instead of vocals the feeling of rhythm is dominant. To watch STOMP, nothing is needed except the subconscious surprise from the lightness with which the boring objects of civilization of megacities here turn to their opposite: instead of irritation, they give a high.

This setting is simple and witty, but it provokes thoughts. By laughing, we can recall the classical principles of game activity, the laws of clowning and the power of the eccentric. In a frivolous show, a favorite provocation of contemporary art is gradually modeling - a search that can coolly change the usual perception. Since the time of the Dyushan Pussuar placed in the museum, nothing has changed. Non -aesthetic objects (buckets, sex brushes, plastic bags, cigarette packs and even banana cleaning) defiantly become the carrier of the beautiful.

STOMP is close to the Russian person, because it resembles Sergei Obraztsov’s play “Extraordinary Concert”, where the ensemble with the participation of a “water-tank instrument” performed. STOMP uses a more conceptual idea: noise is also an art, and everything around us is a potential source of rhythm. Participants in the show do not just extract sounds from everything that comes to their arm, but in the game they strive to beat each other. The rhythms are muscular and sound deftly mounted, intertwining in blows, clicks, rumble, whisper and rustle, in a break and step, in the skirmishes of shock “instruments” and a personal plastic “show -off” of each “informer”.

The press releases of the theater of dancing drummers persistently recall that the viewer at the play should feel the following: "Go ahead, get up, tear off the ass from the sofa and do it!" After STOMP, you will never just knock your fingers on the table, languishing with impatience: something rhythmic will climb out of your fingers. You can’t just eliminate clogs in the kitchen or toilet: the plunger makes a smoking sounds that can also be converted to music.

The organizers of the tour announced an additional performance: December 10 at 15.30.