Un periodo di vita artistica "così vicini così lontani" parafrasando il festival diretto da Marco Di Stefano e Tanya Khabarova. Cosi vicino cosi lontano Macerazione, organizzato ogni dicembre dalL' Anmic di Macerata, di Anna Menghi.
Tanya impegnata ogni giorno all' Assembly Theatre al festival di Edimburgo. Lei è in scena con la splendida creazione dei Derevo, Once, già vincitori anni fa e ripetutamente. Ora "rischia" di essere nuovamente premiato come miglior spettacolo! Un episodio, specchio dei tempi difficili, che noi tutti viviamo. All’entrata in scena di Tanya Khabarova nei panni di Nosferatu in mezzo al fumo, è scattato l’allarme antincendio. Lo spettacolo è stato bloccato e il pubblico evacuato come l’intero palazzo a più piani. Sono tutti usciti in strada ma il buon umore e la tranquillità degli artisti in scena ha aiutato le forze dell’ordine a mantenere calme le persone! Il centro di Edimburgo era pieno di vigili del fuoco e forze dell’ordine. Lo spettacolo sarà ripetuto (previste 25 repliche) e il pubblico lo potrà rivedere per intero. Una platea che tutti i giorni sta riempiendo la sala ospitante i Derevo, gruppo che Tanya ha cofondato anni fa con Anton Adassinskj, Lena Yarovaya, Alexej Merkushev, molto amato in tutto il mondo, molto apprezzato a Edimburgo.
Marco Di Stefano sta preparando in Italia un nuovo Teatro della Comunità in una nuova realtà: Offida (Ascoli Piceno) una bella cittadina in mezzo alle splendide colline marchigiane, molto attiva culturalmente grazie anche alla giovane assessore alla cultura Isabella Bosano. Dal 18 agosto al 3 settembre chiunque voglia conoscere questa esperienza assolutamente originale di teatro partecipato fatto con e per i cittadini è il benvenuto ogni sera a venire ad assistere o partecipare alle prove aperte che si svolgeranno nel Teatro Serpente Aureo di Offida info www.teatrodellacomunita.com info: 3892581444 .
Alla fine del mese di Agosto Khabarova e Di Stefano si riuniranno a Offida per concludere il progetto Offidarte con questo Teatro della Comunità, un progetto che aspira a crescere anno dopo anno, così come accadde tanti anni fa con il Festival Internazionale del teatro e cinema di Amandola, condotto fin dal suo nascere e per 19 edizioni proprio da Marco Di Stefano, sempre impegnato tra cinema come attore e teatro con i suoi spettacoli, Alone Together, il progetto di Bach e Mozart e Reincarnazioni mentre Tanya Khabarova si esibirà in Somnambules ed Equator due meravigliosi spettacoli con Yael Karavan e il suo cavallo di battaglia Reflection.
Un’estate di lavoro ma si sa ...quando si ama quello che si fa non lavori un giorno!
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Once. But in another time, not this time. Another world, not this one. We have entered another world, another time. An ethereal world, outside the boundaries of space and time. (Ether is the substance that angels are made from…) Once upon a time there was… A pair of angels looking down upon a world. A tiny toy doll. A cafe, with tables and chairs, and pictures of ships a-sailing. And a radio, pinned askew on a wall. On the radio, a dancehall foxtrot. In the cafe, which may well be the restaurant at the end of the universe, a waitress. A pretty doll-like girl in a little white dress and bunny ears, she trips merrily across the floor with her clickety-clackety high heels. She sits at a table and daydreams. She stands and tweaks her dress and ears. Someone who might be the janitor, someone of low status anyway, comes in pushing a broom across the floor, his vulture-like head jerking forwards, his tatty beige coat falling off his lanky frame – a downbeat clown, with big yellow shoes and a red nose. His heart is broken, that is obvious – he is wearing his heart on his sleeve. Enter the customer, a suave gentleman in a dapper black suit. He calls for the menu, he orders a fish. He’s obviously a fishy character… These are our three main characters – or perhaps archetypes rather than characters is the better word, for we are in a world of fairy tales and dreams. The pretty ballerina, the princess, a version of Columbine; the heartbroken clown who wants to win her love; the suave dastardly villain who wants her too, and will fight him to the death for her love. Meanwhile, a very stupid cupid has come and gone – he seems too big for his own body, limbs akimbo like a young colt. He misses his target, fires offstage, breaks his arrows (and later his bow). He is useless. The scene is set… There follows a thrilling word-free montage of clever clowning sequences, eccentric and beautifully executed choreography, and gorgeous moving pictures – sometimes literally, as the painted storybook scenery seemingly shifts itself, or the wonky pictures on the walls slide away to reveal startled faces. The fairy-tale and mythological references come thick and fast. Here, a leaping and dancing Sinbad the Sailor (or maybe it’s the Prince of Persia) with his sabre flashing and cutting the air; there, a kind of Trojan Horse, a giant head hiding two people inside it. The simple props are used with a child-like glee: a cardboard fish on a dish is thrown across the room; a piece of piping becomes a periscope; a head pokes through a cardboard box tied up with a bow. The soundscape is an eclectic musical mix – a kind of jukebox of cultural dreams and memories. Waltzes and polkas. Distorted fairground organs. Mournful blues numbers, and a cheesy rendition of Brazil. Music and physical action work together beautifully. There’s a gentle repeated waltz motif as the Girl and the Suitor face each other from either side of the stage, stepping forward and back in time; and a joyous polka as they dance around the room together, as the Clown looks on in anger and despair. The Clown, seized by a demented desire, plays out a totally stupid and funny heavy-metal cock-rock dance with a cardboard falling star. Once is one of Derevo’s lighter and gentler pieces of work – although not without its dark and dangerous edges. An hour and a half skips by quickly – we lap it all up eagerly. It is great to see Derevo, the Russian maestros of physical/visual theatre, back in the UK – and oh what a joy it is to see the company’s three founder members Anton Adasinsky (the heartbroken Clown), Elena Yarovaya (the lovely Girl) and Tanya Khabarova (the villainous Suitor) reunited on stage. All three give superb performances, working beautifully together. The trio of central performers are aided and abetted most ably by Aleksey Popov, Makhina Dzhurayeva and Aleksey Merkushev. The fabulous fairy-tale set is designed by Maxim Isaev. Twenty years on, Once has an added poignancy – it is even more touching and funny and heartbreaking than it was 20 years ago. And with its universal theme of unrequited love and broken hearts, it is a timeless play that will never cease to entertain us and thrill us through and through. Love hurts, for sure. Dorothy Max Prior Dorothy Max Prior Dorothy Max Prior is the editor of Total Theatre Magazine, and is also a performer, writer, dramaturg and choreographer working in theatre, dance, live art and street arts. Under her alter-ego Dorothy’s Shoes she creates performance work that both honours and usurps the traditions of popular dance and theatre, and plays with the relationship between performer and audience. Much of her work is sited in public spaces or in venues other than regular theatres. She is also co-director of street theatre/dance company The Ragroof Players.
Dorothy Max Prior
http://totaltheatre.org.uk/derevo-once/