The gift is random, not in vain

“Field” is the culmination of the meeting of Pryazhko with the Volkostrelov. This is the theater. Of course, radical. But-unlike the signs of clearly recognized radical opuses of art scenes-not spectacular and not tearing the audience into polemic campaigns. This should be characterized by post -conceptual art, in the field of which Dmitry Volkostrolov acts.

“Field” - “bifurcation point” (this phrase with the explanation of meaning is in the program program) the director’s previous work with the playwright. “Field” - the performance of “ POST Theater” - really activates the “critical state of the system in which the system becomes unstable regarding fluctuations and uncertainty arises, whether the state of the system will become chaotic or it will switch to a new, more differentiated and high, level of ordering.” Therefore, this is a turning point for the theater of the current century.

It used to be correct to say (and I wrote about it) that the performances of Poyage/Volkostroelov - “This is not a theater” (as “this is not a tube”). In the performance of “I am free”, their unique duet cleared the ears of the public - few replicas voiced the director, and on the screen the plot developed in a series of photographs shot in Minsk Pryazhko. In the play “Three Days in hell,” the director worked out a stage text to cleanse the viewers' gaze. Reduced the image. But speech (it is important that not dontinuated) in voice mode Over resonated the noise of our time, the voices of massive contemporaries of the public. The noise is intelligible and imperceptible, giving madness and natural, accurate and neutral. Anonymous.

In that “non-performance” an unrequited question was heard: “What are quantum non-cabbageled correlations?” And in the “Field”, Pryazhko wrote a replica to a heroine named Marina (Alena Starostina): “Perhaps we are the consciousness of the universe who is trying to understand itself.” But this replica sounds as the most common in this “field”: “PIN Code entered”; “Chanson. Easy. Type of trophim ”; “Listen, I'm sorry that I distract my divisions with Tinto Bras films? ..” (Hereinafter, the spelling and punctuation of the original are preserved. - Ed. ).

“Field” Pavel Pryazhko devoted to modern physics. But I would add that the play by Volkostroelov radically rethought the “physical action” - the foundation of not only the psychological theater, as it might seem at the first and tired glance. The director transcode the phenomenon of action, that is, invaded the sunny plexus of the generic characteristics of the drama, drama.

This performance is a dynamic field not only regarding “modern physics”. The treatment of the action - its presence, absence and points of stay/decrease: on the playground and in the program where 45 remarks of the buckle describing the scene of a particular scene, state of the state and plastic of heroes are printed here.

The viewer, if it opens the program accidentally, can read remarks. Or maybe leave this venture. The reception of conceptual artists who accompanied their exhibitions with their own texts was a classic stage of this art. And here this stage is gently undermined by a “quantified” attitude to the very concept of action. As well as to its participants on the field - on the playground marked with school boards, on which the characters will write random numbers that refer to the program, to the numerology remark. They indicate that which is not on the stage. Or there is partially, “microparty” and accidentally manifested by characters. The hereditary combiners on this alien (for some reason Norwegian, but why-it doesn’t matter) a field with an unclear location of the West, East, South and North. There are full of combines that cannot be seen, but which are in reality hallucinations. Here, one of the characters is not going to quit work, because "land is one." Because these hereditary combiners are not able to do anything else. “We remove bread, and let them understand the top themselves there.”

The characters charge the phone, buy gold chains, save money on them, tear them off their neck, gather on a disco, sit at fifteen hours, have sex, play cards, ask to buy a kilogram of sugar, nailed the brogs for boots. Actors represent something of these actions, something remains only in the remarks printed in the program.

The "field" of Pryazhko/Volkostroelov is the "seagull" of the 21st century.

Thus, the fundamental discovery of the director with the playwright lies in the fact that replicas materialize the characters in the roles of “elementary particles”, sometimes individualized in their physical presence - and sometimes becoming shadows on a field that exists exclusively in the beams of remarks. However, the likelihood of reading them and monitoring with the stage scenes remains random. Or uncertain.

Once in the play “Black Monk”, Kama Ginkas set the task of pronouncing replicas and Chekhov text VSTK. It was a classic, so to speak, Newtonian physics. A world in which the laws of continuity were not disputed. The revolution of quantum physics changed the laws of the microworld and the dramatic structure, which he revealed, exposed Volkostrokov in the text of Paulo's Paul.

In the current micromir, where the principle of uncertainty acts, where “entropy means the measure of the system disorders”, where an example of quantum superposition, paradoxical behavior of quantum-mechanical objects is either the living cat of Schrödinger, the role of the observer is changing. In other words, the role of the viewer. No, no, he does not become an accomplice, co-author of the works of modern authors. This classic stage has been passed, even if in some practices it is not considered exhausted. The new observer affects the result of the experiment. In this case, dramatic and stage. The role and meaning of such an observer is that he also becomes the subject (or object) of the experiment. Thus, the observer is potentially, possibly, and really comes into contact with the field where the forces act. And the mass of observers helps to accelerate or implement the experiment.

The mutual discreteness of this microworld, energy and other forces change the steps, sometimes, possibly, spasmodic. But Pryazhko and Volkostrelov are the minimalists in the sense that the “jumps” are unusual for their talent.

“Field” in the “ Posta Theater” is a change in the paradigm of dramatic and stage structures.

Since in modern physics there is no endless transition to the small, since we cannot say where the electron is - in this case, the character of the text of Pryazhko, we need a remover remark, which indicates the probability of the location of Marina, Alina, Sergey, Igor, the driver, Pavlik and the ten -year -old boy. This boy whispers to Marina in his ear for a long time. After the boy “runs away” in the remark, but not on the stage, the performance breaks. Lighting changes. The sun goes beyond the horizon, it becomes chilly and windy. Then the sun is hidden over the horizon. The night comes. I saw all this and read on my knees an observer in the hall.

The Cum F iguris field (unlike the classic Apocalypsis Cum Figuris Grotovsky) illuminated first a spotlight, then a fire around which hereditary combiners and girls gather. And then dissolve in the field. In space. But before they “make love. Their bodies are intertwined and no longer understand who with whom and where is who ”(the text of the remark diverges from the text stage). They did not look for characters - shadows in the flesh. Maybe they went to the French, either to the Belgians, or to the forest. Perezhko, as you know, lives in Belarus.

The only time the text appeared on school boards instead of the Tsifero: “Marina stands and does not know globally what to do next.”

“To do” is a keyword. Its derivative is an action. The probable, even if we find out (from the remark, for example) about his impulse, we will not be able to determine the location of the one who owns this impulse.

“It turned out that we are no longer able to separate the particle behavior from the observation process. As a result, we have to put up with the fact that the laws of nature that quantum mechanics formulate in mathematical form are not related to the behavior of elementary particles as such, but only to our knowledge of these particles ”(Heisenberg quote from the program).

It turned out that the “field”, played (with careful observation of the hall) in the Erarta Museum on the Vasilyevsky Island, is the “seagull” of the 21st century.

“Field” is a play about the new theater. But there is a question. There is no place for such a theater, even if one still appears at festival fairs. In this performance (and theater) there is no that dazzling, joyfully exhausting certainty that is inherent, say, Fabra or Castelcucci , Lepage or some conditional kulyabin , attracting curators and regulars of prestigious events. This is an important point for, of course, a narrow circle of spectators, critics. For a wide and progressive circle of the same agents, to ignore the buckle/Volkostroelov indecent. And shrug shoulders is easy. “Here and twist,” said Medvedevedez's teacher in Chekhov’s play “The Seagull”.

It is no coincidence that this “field” is marked by school boards.