Director of puppet theatre, playwright. He is the creator and artistic director of the Maly Puppet Theatre (since 2015), which opened with the production based on Eugene Ionesco’s play Le roi se meurt.
Chakchi was born in a family of puppeteers. He directed his first production on professional stage at the age of 15. He is a graduate of RGISI, where he majored in puppet theatre directing (master artist T.R. Stavisskaya).
He is the creator and artistic director of the Maly Puppet Theatre (since 2015), which opened with the production based on Eugene Ionesco’s play Le roi se meurt.
Productions by Frosnokkers are playing in Sakhalin Puppet Theatre, Khakassian National Puppet Theatre, Maly Puppet Theatre (St. Petersburg) and other theatres of Russia.
In 2017 he published a collection of his own plays They Are Flying. In his plays, as well as productions, the influence of absurdist writers can be distinctly traced. Among the subjects, which the director addresses most often are mysteriousness, maskedness, duplicity of the world, an attempt to grasp the meaning of existence in the endless and often seemingly meaningless flow of human life.
Name. Chakchi Frosnokkers
Date and place of birth. 9 September 1994 Yuzhno-Sakhalinsk
Education. RGISI (majored in puppet theatre directing), workshop of T. P. Stavisskaya
Favorite authors, subjects, stories: Theatre of absurd, marketplace theatre.
What would you like to direct in puppet theatre and why with puppets? My dream is to direct a production based on Bosch’s canvases as well as the Ancient Indian epic Why with puppets? But how else?
Is the expression “puppet theatre” still relevant today? The expression is relevant.
A puppet becomes an actor, the one who has an impact on the audience, and it is also the principal carrier of action, i.e. the audience keeps the dialogue with the actor via the medium – the puppet. It goes without saying that in such case the puppet is a defining link.
What, in your opinion, is the difference between puppet theatre in Russia and the West? Structural approach, thinking about the role of the puppet in modern puppet theatre.
What is useful about collaboration and cultural exchange? Everything. Exchanging forms.
“The narrative is eclectic. There are lots of layers, episodes, characters. Someone may think that it is jagged and not wholesome. However, following the destinies and encounters of all the characters is not the most important thing. It is much more important to fathom and feel – to allow the world of Marquez, reproduced on Sakhalin stage, to take you in its arms and ask questions. About the eternal, the most vital.”
Irina Nefedova about the production Solitude in Macondo
Blog
“Intentional playing with theatricality goes on: the production includes elements of several forms of theatre. Besides live actors and puppets, the creators of the production turn to masks, pantomime, and for one or two minutes the queens are transformed into Kabuki theatre characters. Another moment – and you can catch a glimpse of Ancient Greek theatre: you see it in the relief and exaggerated gestures.”
Ksenia Rusinova about the production "Le roi se meurt"
"Copy-Book "
“Not yet 23 years old, Chakchi has already directed a number of productions in puppet theatres all over Russia and abroad. He directed his first production at the age of 15. Today he prefers to work with classical Russian and foreign literature, because classical literature allows greater freedom of reinterpretation.”
Polina Mironova
informational portal "Republic"
“Meanwhile, productions reveal the inner life of this mysterious young-old director-playwright much better than his plays. Bareness, naivety, openness to the audience, tenderness towards the actors, the power of feeling, always dominating his productions, and coldness, contempt, mistrust manifested in his plays.”
Ksenia Rusinova
An article for the collection of plays "They Are Flying"