After plays:
Sophocles' "Oedipus The King" (transleted by Ivan Franko)
KLIM's "Doghouse. Antiutopia from silent majority's life"

OEDIPUS. DOG'S CAGE

Directed by Vladislav Troitskyi

The language of the performance is Ukrainian


Photo by Olesia Morgunets


Characters and performers

  Kateryna Vyshneva
  Dmytro Kostyumynskyi
  Anastasia Shevchenko
  Anna Nikityna
  Vasil' Bilous
  Roman Iasynovskyi
  Dmytro Iaroshenko
  Zo
  Tatyana Gawrylyk
  Vira Klimkovecka
  Ruslana Khazipova
  Solomiia Melnyk
  Natalka Bida
  Viktoriia Lytvynenko-Iasynovska
  Igor Postolov
  Volodymyr Minenko
  Tetyana Vasylenko

We know, of course, that the human soul is dark.

We also know that human fate is a labyrinth, a minefield, an abyss and a prison...

 We dream of sweet freedom and hope to free ourselves from the sins of our fathers and mothers, all the while knowing in the marrow of our bones that that it is only our illusion, as we do not know whether we can avoid that which has been pre-ordained for us... and when our happiness or  misery may call us to account. We not only do not know, but often think it best not to know, since our fate cannot be avoided.  After all, we hope that our fate is tragic, but it is at best a drama, in which we ourselves are at fault since, in trying to avoid our fate, we choose the worst option in the end. Often, therefore,  our lives are not even human comedy, but a tragic farce.  A tragic farce because, how else are we to call that which we do, knowing its mortal danger? Because that's how it happened in the early twentieth century:  we, or rather, our cultural consciousness was immersed for a century in the myth of an attempt to avoid fate ...  patricide ... victory over the Sphinx, with a simple answer to a simple question ... acquisition of  power ... cohabitation with one's mother ... having children in matrimony with her... and of physical darkness, for what good are eyes that do not see and that which they do see only prevents us from hearing the wisdom on the heart?  So, what is the only way out of the darkness?

Without discussion of how and why it happened. Was Freud right, or wrong, forcing this view upon us? Forcing us to look in the mirror.  Returning the Sphinx to us.

This riddle, called "the story of Oedipus" - which we may not like very much, since we are not like that - and that can't happen to us, by definition ...  alas ... whether we answer or not, whether we wish it or not, whether we like it or not.. After all, why does the theatre exist?  There must be some reason for it and some benefit from it, even if it does not answer the questions we can not escape, but at least helps us in our search for answers to the questions of the next Sphinx to appear before us, if only to remind us of the fact  that a similar story has already been told.

Thus ...OEDIPUS, by Sophocles. A drama, in which there will always be more questions than answers.

And we do not know the answers. Our very lives are an attempt to answer. So, our OEDIPUS is an attempt, perhaps, not at an answer, but at least at the correct question.

This is our fourth attempt at approaching this theatrical Sphinx, in the Ukrainian version of Ivan Franko.

This is our fourth step ... ... our fourth time entering...now into confinement .. a cage ... a prison ... away from the freedom of shamanic traps for morning and wind, made like Buddhist sand mandalas, for the harsh and magnificent burnt - the first step at the festival in Sheshory.

The next step, after trying to comprehend it via Eastern ritual - a second attempt in the Lavra gallery.

Myth is myth everywhere  ... the law is the law everywhere ... wherever it is, in a primeval paradise, or in anger, in war-painted faces,  framed by Eastern paranja headwear ornamentalism reflected in mirror-like immobility not of the face of the Sphinx, nor the waters of Styx, trying to lure us into its abyss, apparent as the possibility of wading through the dead waters separating us, the living come to see the other side, from those on the other side... for ... the actors trying to touch the face of the Sphinx, towards the mystery of the Myth of Oedipus.

Or, in the wretchedness of the new-dramatic military warehouse, devoid of beauty, stripped and rotting, smelling of the flowers and damp. musty air...the naked body in fire, the metal of the ceiling, cement dust, chains, the fatigue of the old brick of the columns and walls, of the endless echo of the abandoned an unfinished catacomb of the church on the eve of a harsh winter following summer, of attempts to alter the essence of the military Arsenal. The essence of drama is always the essence of drama. And we actors  remains its students and victims ... The question to ourselves is: are we strong enough to make this fearless psychoanalytical gesture of touch and understanding? Will we have the reason and spiritual calm to try to hear the Sphinx's riddle? To hear, since in the question lies half the answer.

Thus, OEDIPUS is ... the fourth step ... the fourth attempt.

Now this fantastic animal, this theatrical Sphinx may indeed be lord of our fate, trapped in a cage, not a pre-trial detention, not the in confinement, as such. Why? ...  Life is life everywhere. The question is whether theatre can determine where the prophecy can be heard.  The art of theatre lies in the guessing!  Have we got it right this time? We do not know ... we try and hope.

 


 

"The blind man from the one who sees,
And from the rich one poor beggar
He'll travel to a stranger·s land finding his way by fishing-line"
The state ruled by Oedipus ­ the dance of blind men at the edge of chasm, feast in a midst of a plague, sand castle, brightly colored coffin filled with dead bones - is ought to be purified by the fire of truth and to be restored in crucible of the spirit.
We wander in the dark
Since we've lost our way,
Our holy temple's broken ­
Where should we pray?
From the deepest abyss
Hear, O, God, our cry!
From ashes we'll be raised again by The Lord Most High
The avalanche of fate that cannot be stopped befalls upon Oedipus and his people with all shattering power wiping off everything that ought to fall down: "The curse of your father and mother is approaching in irrepressible way". And all that was erected is destroyed again and again and the extreme limit of despair and the dreadful enlightenment:
"O, God's light!
This is the last time that I see thee!
In defiance of the destiny I've got eyesight,
I have called my mother my beloved wife
And I've killed the one who gave me life".
By putting out his eyes Oedipus ­ who can now see truly ­ becomes the grain that perishes but brings fruit by its death; that sanctified armor thanks to which the light of blessing will be poured out upon all the nation and the temple of faith and truth will be restored in the land.
Who will you be those days
In far forsaken land
Where one won·t find the shelter from God·s hand,
Alone,
In desert's sand,
In haze?

At first you sit up on iron bars looking down where in the darkness quiet sounds and flickering lights are being born. Soon you forget you are theatre spectator identifying yourself with these people fleeing from themselves ­ they are us ­ Ukrainians, trying to close their eyes tightly and to create home coziness amidst the mire, the swamp sucking us each moment of our lives. Our duty is to stand up and resist it, rise up our heads and fight it keeping our human dignity.
Then you sit under the iron bars and look up at bewitching choir making the impression of many headed metaphysic creature and lone king Oedipus as time stops and you become the part of Mystery, listening to inexpressibly beautiful oratorio and standing still together with steps of unknown being rushing about in the darkness as the train of time takes you away into the Eternity...

 

Synopsis:

ACT I.

Text: Scenes from the KLIM's play ”Dog's Cage"

Scene 1
Night in the prison after working day. Supper. Standoff.
(Radio and television: broadcasting).

Scene 4
Monologue. A single man in his closet in the night after the standoff remembers starvation times of his childhood as a greatest happiness, when everything was real: water, and bread, and eggs, which had smell, taste, and hen were hitching chickens. ”Now’ and bread is not like bread, and water is not like water ’. He ends up with the opinion that modern chicken live in concentration camp.


Scene 5
The Chief demands to stop talking.


Scene 6
After the Chief leaves to his closet, the neighbors start dialogue. The people start to seek for the guilty ones. They end up with the opinion that yogis are guilty in everything.

Scene 7
"Brain Wash".
The talks end up with the Chief making the night alarm and call-over.

Scene 8
The one in the cage shows discontent.

Scene 9
The Chief proposes to clean the cage if somebody is discontent and asks if somebody wants to go out with him. Nobody wants. The one in the cage says that he would leave but he stays. Finally, the one in the cage says that they have no right to flood him out because this is his Motherland.

Scene 10
The Chief lets everybody go.
Chorus. The song:
"The less people - the more oxygen"

Scene 11
The dialogue about Motherland.
The chief lets the one in the cage go.

Scene 12
The humiliated in the cage stays face to face with the people and starts humiliating them with even more cruelty and violence, than the chief. Finally, he makes everyone sing the marching song.

Marching Song about the freedom
Shit, shit
We'll never see freedom
We shit upon our freedom
We shit upon our fate
Because we're a musical people
And
We do them in the mouth
And they do us in the ass
Our ass
The heavens doggy-style
More ass
Less cock
The boys live poorly
In happy friendship
With our hetman
Sharing a woman
Shit, shit
We'll never see freedom
Why the fuck
was this will shit into us?
Ate, shat
And black earth
Ours is the richest land
Yet we die of hunger
Shit, shit
We'll never see freedom
The one in the cage cries out to God for compassion for him and for the people.

Scene 13
The chorus sings the folk psalm. The pit is being filled up.

 

ACT II.

Prologue
The night. The boy asks his mother: What is the destiny? Who is Sphinx? Who is - Oedipus?
The text tells an off-the tragedy of Sophocles prehistory of Oedipus`s myth, according to which the cause of death from the hand of Laiya`s own son served as a curse imposed for him Pelops for the returning of his son.
    
Text in the Ukrainian language: KLIM

The next text is "Oedipus. The King." by Sophocle. Translation is made by Ivan Franko.

Scene 1
The Song of Chorus, which tells the story of greatness and the falling of Oedipus. The killing of the Sphinx, the ascent to the throne of Thebes, the disclosure of incestuous marriage with his mother - Queen Jocasta and a curse. (Text: 1160-1200)
"People, people! The death race! The human Life, is nothing! Has anyone reached its happiness? Just think: "I am happy!" -
 And loose his happiness. Your rock is teaching me, Oedipus, the ill-fated Oedipus! After thinking of your rock, I will tell you:
There is no happy people on the Earth"

Scene 2
Oedipus asks the people of Thebes to the question about the reason of their grief. (Text: Prologue, in Russian from 1-10)

Scene 3
The priest of Zeus on behalf of the people of Thebes, Oedipus Rex asked, once saved Thebes from the Sphinx - a monster with a lion's body and face of a woman, to avert pestilence and calamity befell Thebes. Oedipus says that his brother had already sent his wife`s brother Creon, to ask the oracle how to avert obsolescence. (10-70)

Scene 4   
Creon brings the news: disasters befell Thebes - God's punishment for the murder of Laiya; to save Thebes anyone should find and punish the murderer. Oedipus promises to find the killer. (80-140)

Scene 5    
The Choir`s prayer - an appeal to all the gods, asking for Ю pardon (150-210).

Scene 6
The Oedipus` monologue.
Oedipus curses the murderer Laiya, and announce the punishment, which befall the man for helping a murderer. (210-270)
         "I curse the secret murderer -
         No matter if he was alone, my only weapon was a lot of them -
         Contemptible life shall live despicable!"

Scene 7
The Dialogue between Oedipus and the chorus (270-300)
The Chorus tells Oedipus that the murderer may be indicated by the
prophet - a blind old man Tiresias.

Scene 8
Oedipus. Teresii.
Oedipus asks Theresii to open the secret of Laiya`s death for the sake of Thebes. Theresii refuse to talk. Oedipus accuses Theresii of complicity in the crime. Finally, Theresii calls the murderer of Laius - that Oedipus. Oedipus does not believe Theresii and chases him. He thinks that it is Creon`s intrigues. Theresii`s prophecy. (300-370)

Scene 9
 The Oedipus`s song.
 (The Ukrainian national song "God, get away the cloud!").
    
Scene 10
The Choir`s song. 
The Choirs refuses to accept  the guilt of Oedipus, while it is not proved. (440-480)

Scene 11
Oedipus and Creon.
Oedipus accuses Creon in the murder of Laiya and the betrayal. (508-580)
Oedipus`s revenge to Creon.

Scene 12    
Oedipus and Iocasta.
Iocasta stands up for his brother. He says that all the prophecies are false. So Layia was predicted to die by the hands of his son, but their infant son had died at Cithaeron and Laiya was killed by unknown traveler at the crossroads of three roads. Oedipus begins to suspect that he is a murderer of Laiya and sends for the old shepherd ­ the only one witness of the murder. (680-740)
Monologue of Oedipus.
Oedipus tells Iocasta the story of the prophecy of patricide, which led to his escape from Corinth from his parents - Polybus and Merope. He tells about the murder committed by him at the crossroad of three roads. Everything indicates that the murderer of Laiya is - Oedipus. (740-810)

Scene 12
 The Choir.(840-880)


Scene 13
The messenger from the neighboring Corinth says that the Corinthian king Polybus died and the Corinthians called Oedipus to take the throne. However, Oedipus refuses to return to Corinth, as he is still afraid of the prophecy of the priests of Apollo, who predicted him that he would kill his own father and get married with his mother. Then the messenger tells him that Polybius is not his native father and he was taken to his house by a shepherd - a servant of Laiya. Iocasta begs Oedipus not to pursue the investigation, but he asks to bring the old shepherd Laiya. (890-1040)

Scene 14
The Shepherd tells Oedipus that his father is Layia, and his mother is Iocasta. (1090-1150)
The suicide of Iocasta.

Scene 15
The Oedipus blinding.

Scene 16
The returning of the gravediggers who talk about the current times and the people who silently accept their fate.

(Text: KLIM, "The dog's cage")


Two acts. 3 hours


Back
Go to