Unbearable atmosphere

Living in the Kafkian world is not such a banality, despite the frequent use of metaphor. The world of Beckett, for example, is much more inhuman, the Joyce world itself is more difficult, and to live, say, in the world of Ionesko is really worse, but everything is quickly ending. But in the world of Kafka you can live - this is precisely unbearable life, the world of quiet horror; The threat here is always ethereal, invisible, not formulated - but relentless, inevitable, endless. And the worst thing is that this never ends.

Is it possible to create the Kafkian world with a conscious effort of will? .. The driver who is lucky by the SK investigators in the morning to the house of the director Serebrennikov - does he think at that moment “I create the Kafkian world with my own hands here and now”? Or here are the investigators who “behaved intelligently”, according to Serebrennikov, or the one who sent them - do they wake up and fall asleep with the thought of Kafka? .. hardly. Just as a result of the aggregate actions of different people, the Kafkian machine is formed, and it already subordinates people to their own logic, and pulls, and takes it along. This car cannot be seen in any way, its work can be identified only by indirect signs, by gaps, cracks - even by rhythm.

This rhythm is already familiar to us. For example, yesterday everyone was uneasy, everyone was confused, a terrible feeling; And today there will probably be some sedative post from the culture adviser or the deputy chairman of culture-that we will continue, so to speak, work with Cyril-Semenych and will follow his always bright, although not always unambiguous, work. There will be more further: for example, an encouraging signal from the very top, where they will clearly make it clear that the artist’s freedom is more important than his lack of freedom, and some hot heads will have to cool down, and retreat voices - to silent; The culture needs to be protected, and you can’t do it, and in general it is necessary to deal with all this, and the doors of the theater, we repeat, are open for experiments, are open for a wide discussion; We do not forbid anything; It was formal, we repeat, one might even say, a banal event within the framework of the law, because you understand that people have such a job, and someone should do such a job, right, and this also needs to be a might! ..

The goal was just this: so that everyone has a sense of inexplicable anxiety and misunderstanding - this is a new logic, this is a new style.

A week later, all this will be forgotten, summer will begin, the sun will warm, the windows of the theater will be blossomed again with bright lights, and only the memory will remain from everything, stuffed with solid signs of the question - “What does it mean, what was it, what? ..” What does it mean? Nothing means anything, just like this, and in general it is better not to get into it. This is the Russian life of the current type; Probably, it resembles some kind of life of the 1960-1970s, but not those, of course, what they show in the series about the thaw. I don’t understand anything, why, because it was possible humanly? .. But the goal was just that: so that everyone has a sense of inexplicable anxiety and misunderstanding-this is a new logic, this is a new style.

There are no accusations, the wine is not indicated, and it will not be named, most likely, this is the Kafkian world, the world of vague guilt, circling, elusive and always overhanging. Then, in a couple of years, a completely piercing performance will be released-this, of course, will be the new Serebrennikov, such Solzhenitsyn tension, and he will be about a feeling subconsciously familiar to everyone whose relatives survived the 1937th, that is, about all of us. Perhaps it will be called "survivors." Shnitka, it seems, has such a piano thing where this image is literally read: a person clung to the door, hearing someone's steps on the stairs; Here they are approaching, the tension is growing, it becomes unbearable - and now the steps are already moving away, it has passed, this is not behind me today, but behind a neighbor from above. And about this genetic Russian fear of Serebrennikov, of course, will put his best performance. This is a radical personal experience, but this is a double game: the car goes to the director - but the director is waiting for it, without knowing it, watches her habits; Then he will melt this car, transcodes into the image, and he also “catches” it. He passes in the case as a witness, but the artist is also a witness in a different sense; After all, he did not stop thinking and observe all this time, and these testimonies will then appear in an artistic form.

Everything else is still in the standard rhythm, and the whole essence of the hybrid of the regime - according to Ekaterina Shulman - is exposed precisely on such days, in varnishes and cracks. The hybrid mode is the thing: you plug, say, one hole - but thereby you multiply new gaps and cracks. The peculiarity of the regime is that, fighting politicization, he himself primarily gives rise to it, and sittingon the upper poles , despite the titles and budgets, suddenly, suddenly begin to give a voice for themselves. In yesterday's spontaneous action in defense of the director and Gogol-Center, people were involved quite well-maintained, and personally, and not through secretaries; And each such case enhances intrai-moray solidarity, some reactive mechanisms in society are honed, such support becomes the norm, and a new culture is born before our eyes, a new tradition of solidarity.

Even the part of the society that was fierce from politics has fought back to the last - cultural figures are politicized.

The machine gives rise to human reactions - is it good from the point of view of the machine? It is hardly. Is its goal to unite people? It is unlikely. And then there is a whole letter of cultural figures - yes what! And the language of their messages is in vain scolded for conformism. This is written exactly in the language that will be understood by power and which is easy to decorate. The sewn mouth also knows how to speak, and in fact the letter contains more threats than it seems. Probably, it is decoded by the machine something like this - “this is already too much”, “these are flags”, “this is too much”; And most importantly, this signal is no longer from the “intelligentsia”, but from the ruling class, from group interests, and the letter conveys a feeling of class alarm. That is, the instincts of political behavior are vaccinated even for those who are not a dream in spirit. So it was assumed? .. Or was it not supposed? Again, the dialectic of the hybrid regime: he himself at the same time split and consolidates and cannot do anything about it - because, apparently, this is his nature; That is why almost everything as a result descends on the brakes.

Except for the already two really injured , all this is more to the theater so far - but as played by the actors is almost always different from the director’s intention, and the role played by the machine looks somewhat colorless. Hence this strange combination of expression - and alienation.

Was this action within the new “struggle for youth”? “Gogol-Center” was conceived in 2013 based on good intentions-as a means of replacing the protest youth “Street”; For the sake of this, even emergency economic mechanisms were needed, which now, apparently, have become a convenient reason for accusations . This strategy did not justify itself - recall on March 26; Therefore, the mechanism of the Gogol Center is recognized as non-working. But if this visit of a minotaurus is a kind of revenge of the state for the artist for the “lost generation”, then this is revenge on himself. The country re -politicized not Serebrennikov, but the Kremlin, having arranged for the whole world 2014. Few then it might have thought that this would become an impetus for politicization within the country, but it turned out that it works this way: according to some internal logic, even the 2014 loyalist, “having proud of the country”, felt like a political entity in 2017. And when we are told “no policy”, we understand this now exactly the opposite - that this is all “for politics”; Even the part of the society that has fiercely fought back from it, is politicized, - cultural figures: “We are out of politics! We are out of politics! " And on May 23, politics came to them to everyone and said: "Hello, how are you here without me?"

The system itself nerves itself and calms itself - as it seems to it. But the only thing that remains is from this event and from hundreds and thousands of such cases, eroding, corroding the consciousness of words and actions - unbearable, the same Kafkian atmosphere. The atmosphere where they do not live, but only pull the strap of life, and not the fact that it is pleasant even to those who create it. But it is she who, as a result, will remain - everything will be forgotten, and this will remain for good.