After Ingrid Lausund's play


Translation by Anastasia Rish-Timasheva
Directed by Vladislav Troitskyi

The language of  the performance is Russian


Characters and performers

Commentators   Igor Postolov
  Natalka Bida
  Ruslana Khazipova
Krezky   Volodymyr Minenko
Kruse   Dmytro Iaroshenko
  Kateryna Vyshneva
Kristensen   Viktoriia Lytvynenko-Iasynovska
  Nataliya Perchishena
Schmitt   Daria Bondareva
  Roman Iasynovskyi
Hufschmidt   Dmytro Kostyumynskyi

This is Kafka·s world of faceless officials where everything is repeated in a strict appropriateness in exactly prescribed place and at the exactly appointed hour. It is impossible to change this order of thibgs established unknown by whom and what for as one can·t stop a fouled mechanism of a toy. Its sense is in serving to senselessness that is lifted up to a rank of cult. There is no personality or live move of a human soul in it. With all zealous and laborious work of its habitants reminiscent of selfless labor of ants, only remote illusion of genuine life is their reward and requital. Like a hidden decease it corrodes from inside killing everything live and leaving only constant watchfulness not to give oneself away, not to loose, not to be late, not to miss. An animal grin behind a friendly smile of a clerk and dull, constantly giggling ache behind a light every day talk of office workers.

When does it happens to us and aren·t we already a part of this world convincing ourselves in opposite? At what moment do we become its flash watching with apathy our own spiritual death not able to get out of its embrace similar to a glutinous quagmire of a nightmare?

Is there at least something in the world that I take seriously? I don·t know. Nothing comes to my mind.

I have no more my own opinion about anything. Here is a table. Do you like it? I don·t know, I have no idea. I know only that it is of wood, I know what style it is. But I can·t tell if I like it or not.

Are you happy? I have no idea. Maybe. I don·t except this. Even if I·m happy I don·t notice it. It doesn·t mean that I feel sad because sad should be in inverted commas.

And to get out of this behind-a-mirror-world is possible only but making a step into abyss’

I can·t take it any more. I don·t want to be here.

And more than anything I don·t want to be the way I am.

I want to have a new spine. I want to walk straigh.


Time of small people. Spineless ones.

I want to have a new spine. I want to walk straight

The piece of Lausund is a pattern of post informative thinking. One can see in it an entertaining and witty comedy for mass spectator, lyric comedy or biting sarcasm on a new bureaucratic regime. And one can find in it shallow without measure people repeating to themselves in private that they want to have a new spine to walk straight and adding there and then: well, have a bit too big ideas’.

This is one of the most expensive Dakh·s plays. Cold high-tech appeals to preciseness of cybernetic geometry. The intimate Dakh·s stage is covered from all sides with harsh and comfortless steel plates. Five half rounded cabins are joined to a roof with iron tubes. Vlad Troitskyi accents estrangement: actors are static, they sit on their work places there video cameras are attached filming each one of personages and translating their images in white and black on metal screen behind.

There is almost no usual theatre acting: actors sit on their work places playing only by their faces and hands. Five people talking to each other with a help of cameras present modern office. Communication of these people through machines is distorted by lie, ambiguity and paranoia. Hufschmidt and Schmitt who hate each other discuss their joint work: I·m sick of you, I·m already vomited.

Preparing to enter chef·s door colleges rehearse in order to look better. And they come back from chef with dough instead of face or with a knife in their back or with their own head under the arm.


Krezky is handsome, local clown and rogue;

Hufschmidt office leader, aggressor;

Schmitt is the iron lady, tuff and feministic;

Kristensen - the kindest person in office;

Kruse looser, it doesn·t matter how humiliated you are he always will be even more humiliated.


The rhythm of the play is torn with many pauses. Even in intimate scenes a whistle and Pause! command can always sound. On line film is being born and dies each second before the spectators· eyes. The theatre according the rules of cinematic still or the cinema in not fixative fleeting regime.

Vlad Troitskyi created the prototype of web-performance. But in spite of the computerized style of the play it doesn·t loose its human character. Human being is the noblest and the lowest creature. Man is free to create amazing things but he can·t go out of repeated movement of his own mean-spirited and empty life.

Ingrid Lausund says that pain of other person is inaccessible, that people can·t understand each other and that life unifies all of us. And to keep your human face you need to fight for yourself each moment’first of all against yourself. Because one day it can be too late: parole is lost, the operation system is narrow-minded person.

The play bares the conflict of contemporaneity touching eternal themes of pathologic hierarchy in collective, meanness of people and impossibility of understanding. Vlad Troitskyi made a statement of kind and techno character on theme people must stay people with a bitter touch of disappointment in human nature.

Marysya Nikityuk 20.03.2008


Two women and three men exercise official duties carefully masking their personality. To each table web-camera is attached projecting white and black image on a screen behind showing worried, grinning, severe, idiotic, haughty, laughing, dreamy, sullen faces. If you feel cosy watching this disgrace as an independent spectator you are trapped.

Julia Gushul, Anna Sanina, Masha Vadimova
PLAYBILL N13(360) April 2-8 2008

Two acts. 2 hours

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