Derevo the western samplecompany Derevo of Anton Adasinsky Based in Dresden has shown in St.-Petersburg premieres of two last performances - “ Mefisto - a waltz “ and “ the Harlequin “. DMITRY RENANSKY considers that these statements testify to definitive reorientation there is no time the main domestic advanced post of modern dance on the European theatrical market.
as Anton Adasinsky, in " admits; Mefisto - a waltz “ he has danced everything that has not had time to play on a set “ Faust “ Alexander Sokurov in whom frontmen Derevo has acted in film in a role of Usurer Mephistopheles who has accepted an appearance. Performance mnogoobeshchajushche begins: from kislotno - yellow kezhuala protagonist “ Mefisto - a waltz “ changes clothes in a black cassock and under shaljapinskuju record “ Trepaka “ from “ Songs and death dancings “ Musorgsky gets dancing of sacred Vitta. The mister Adasinsky managed to find so powerful plastic equivalent to incomprehensible images of a poem of Arseny Golenischev - Kutuzov at whom the death simultaneously both buries, and caresses that, appear, if “ Mefisto - a waltz “ consisted of only one first episode, it would be difficult not to recognise chronological latest work Derevo as a masterpiece. But the solo dancing monologue of the mister Adasinsky has appeared only a priming of hour action with three witches, a crown of thorns from the carnations, standing in the middle of a field of sunflowers a stuffed animal, the globe - a water-melon, a flock androginov with collars - nests and skulls - eggs.
a superplot of the second of shown on a theatre scene “ Actors “ prime minister Derevo became process gradual vochelovechivanija the actor. Key objects of creative reflexions in this performance - theatre and theatricality: Anton Adasinsky plays “ the Harlequin “ How, having left for rag side scenes of poor vagrant buffoonery, zhivchik - the clown turns to the tired to death person, wooden members of a puppet find a flesh and blood, and through a mask of the header hero lines of eternally suffering Pero appear. Nourishing sauce of obvious and unconscious cultural hints - in a greater degree on Fellini and Picasso, rather than on the Block and Sudejkina - does not allow to apprehend “ the Harlequin “ otherwise, except as a recognition of the mister Adasinsky in frank love to the world of a stage, a stage and a behind the scenes. Traditional spring tour Derevo has shown, is how much far during the last years collective has left from the paratheatrical ideals declared in due time in the known manifesto - in which among other the desire of members of group as much as possible was in black and white declared to separate from such concepts, as “ theatre “ “ the actor “ and “ a role “.
If earlier Derevo mainly delivered to the spectator, using bonmo the theorist of entertainment arts Ann Jubersfeld, “ pleasure to read and re-read the body letter “ for quite some time now to Anton Adasinsky every year all is more interesting voleizjavljatsja not plastically, but theatrically. Today`s Derevo migrates in a direction to that multigenre territory on which in Europe Zhozef Nadzh, Boris Sharmats and other representatives of movement " work; not - dance “ in passing enriching the theatrical language with plentiful loans from lexicon of visual theatre. Anything unexpected in this style metamorphosis, certainly, is not present - it testifies to natural assimilation eks - the Petersburg troupe with the European cultural mainstream more likely. Focused on the western theatrical values “ Mefisto - a waltz “ and “ the Harlequin “ Definitively, apparently, liquidate the aesthetic umbilical cord connecting Derevo, based in legendary Dresden Festspielhaus Hellerau, with its whether vanguard, whether andegraundnym domestic dancing past.