After Luigi Pirandello's texts

ALMOST THE PLAY, ALMOST PIRANDELLO OR THE DEATH DANCE. REANIMATION

Directed by Vladislav Troickyi

The language of the performance is Russian

 


Photogallery


Characters and performers

  Vasil' Bilous
  Zo
  Mariya Volkova
  Anna Nikityna
  Anna Khokhlova
  Viktoriia Lytvynenko-Iasynovska
  Vira Klimkovecka
  Anna Breus
  Daria Bondareva
  Roman Iasynovskyi
  Dmytro Iaroshenko
  Kateryna Vyshneva
  Dmytro Kostyumynskyi
  Natalka Bida
  Solomiia Melnyk
  Igor Postolov
  Ruslana Khazipova
  Volodymyr Minenko
  Nataliya Perchishena

 

Majestic fascination of Italy saturated with sun and happiness… Its soul is hidden in light sounds of bewitching songs and Catholic Church full of mystic solemnity where Madonna with sad tenderness gazes at this, actually, childish world. It is in selfless rapture over life and death in their indivisible unity and in lightness of being with elusive change from joy to grief, from love to tears, from fervent and mocking Sicilian tune to penitential and passionate confession prayer.

The actors radiate charming childish spontaneity inherent in Pirandello personages and spectator is lucky to spy on some scenes from life that is being born before his very eyes, here and now – they are funny and touching, naпve and solemn, carnival and piercing.

“For nothing exists without its contrast. The one who was born dies sooner or later. And shadow, like death, follows each one”.

Life and death. All and nothing. But where is the beginning and the end of those things? The world of loneliness and dreams, the world of pain and bright hope – the world of Luigi Pirandello is unpredictable as life itself.      

This is a collage-play and a key word for gathering its parts is a word "almost". Almost Pirandello – that's because the play is webbed not really on the base of  the novells of worldwide famous Italian playwright and prose writer Luidji Pirandello but rather in the mood echo of numerous personages of his texts.Incomplete and sketch character is at the base of its construction.

The son of chaos Luidji Pirandello was given its name not only due to The Chaos Forest - in the outskirts of the last he was born. The world of his works is a state of disintegration in a space often between the life and death, the testimony of twentieth centure people's consiousness crisis. The reality of the world is forming the absurd combinations from the shreds of person's subjective experiences. The logic is loosing sense once the paralellism of existance is coming up on the stage. In this chimerical world of illusions where everyone is lonesome and aloof in his grieve, mostly the death becomes the measure of freedom. After Pirandello only woe and suffer to the limit are able to turn one person to another so he could see himself in someone else.

Director Troitskyi unites this world of collapse by energetic streams of mysticism, black humour and woman eroticism. And also by the hope that The Death Dance - the second name of the play and potential opportunity of a modern age is transformed by the magic of theatre into this small but powerful "almost".

 

 "…I think that art has to pull on itself the gloom of a real life. Pirandello is one of my most favourite authors. Mysticism, tragedy and eroticism create the organic combination in his works".

National Weekly "Business Capital" #52/190 27.12.2004

 

 "Representing an animal vehemence at the heart of everything, going mad, loosing the most precious, facing the death, the heroes of the play as if discovering, realizing the cruel truth of life. But youth, purity, freshness and hope of actors are contrasting with the deeds of their heroes.

…This play, without any doubt, can be recommended to so-called theatre gourmets. The concentration of signs and symbols – sound, visual, plastic – on each minute of the play is great. But this "abundance" doesn't burden, doesn't reduce the tempo. On the contrary, it turns the play into enchanting-demonical action, which is better to watch without straining the consiousness but just relaxing and getting black-white-red aesthetic satisfaction".

"Free Pass" by Miroslava Hotkevich, May, 2005 

 

"Almost the play, almost Pirandello or The Death Dance" in the Centre of Modern Art "DAKH"

                               Woman Magazine, By Natalya Katerinenko 01.06.2005

 

This play is another experiment of Vladislav Troitzkyi. Turning to Luidji Pirandello novells the director created the play in the form of shifting pictures-scenes. The ray of light is snaping up from the dark space the silhouette: this is Mattio Paskal philosophizing about life and death. In another scene five young men are carrying out three girls with dip-buckets in their hands. In that way, from picture to picture, the producer is trying to tell the story of Luidji Pirandello personages. Is he succeeding in it or not – it's up to the spectator to judge.

 Vladislav Troitskyi, the director: "Pirandello's works attract me, in a first place, by its strange sensual atmosphere, pierced by eroticism and death. At the same time, in all his novells the insatiable craving for life and love to life is felt. In my new play the young actors are acting. Almost all of them are still studying in Kiev Theatre University. But I think that every actor in his formation has to work not only with Anthon Chechov plays and Fedor Dostoevskyi novells but to test himself in the Luidji Pirandello mask theatre as well".          

 


One act. 1 hour


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