Let us imagine that the old man Prospero has fallen asleep while reading a volume of his creator’s masterpieces and the magician’s dream has released the different characters from various tragedies, giving them a new lease on independent life. King Lear has turned into a rag doll thrown around by his malicious daughters. Juliet has become a tailor’s pin and Lady Macbeth is now a woman who can never cut out of paper the shape of her ideal man without cutting it all to shreds.
Shakespeare-Laboratory is an experimental play aspiring to re-tell parts of Shakespeare’s great tragedies by visual theatrical means. The actors have at their disposal all sorts of expressive resources. Using puppets, their own imagination, any expected or unexpected available material, the actors present their personal interpretation of the Bard’s classic works. The play emerges from separate phrases, moods, fleeting gestures, music and light… This is the author’s pronouncement, improvisation, laboratory work, aimed at finding a new theatrical language.
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"Macbeth. Witches. Work"
Maria Batrasova, Ekaterina Lozhkina-Belevich
Irina Chugaeuskaya, Yanina Burtman
Vasilisa Ruchimskaya, Natalia Sizova
Othello. Villains. «In Venice they do let he
Sergey Bespalov, Ales Snopkovskiy, Denis Kazachuk
Mikhail Lozhkin, Ivan Solncev
King Lear. Puppet play
Maria Batrasova/ Nadezhda Moshkina
Dmitry Chupakhin, Renat Shavaliev
Anatoly Guschin, Mikhail Grishin
Mikhail Lozhkin, Anatoly Guschin
Juliet: «Hood my unmann'd blood»
Montague & Capulet
Dmitry Chupakhin, Denis Kazachuk, Ivan Solncev
Ophelia: " I'll no more want"
Irina Chuhaeuskaya/ Diana Fokina
It’s hard to be oneself (Poor Yorick)
Hamlet. The Mouse-trap.
Roman Dadaev, Dmitry Chupakhin
Victoria Slutskaya/ Ekaterina Lozhkina
Ophelia, the poor thing, had drowned
Yana Burtman, Anatoly Guschin, Ivan Solncev
Hamlet: "Venom, to thy work"
Mikhail Lozhkin, sergey Bespalov
And end his being
“You may ask me what puppet theatre has to do with it if actors come to the stage themselves? Puppetry is in close attention to the world of things. Every detail comes into play: a glass, a teabag, a mousetrap. Ingenuity of young actors who work with items masterfully cannot help but excite. <…> We are offered an original and unexpected performance. This performance is attractive both for desperate, happy young people and intellectuals”.
“Does a modern human being really need Shakespearean pathos, a conflict between a duty and a will, a heroic passion? Perhaps two or three basic emotions taken out from the play’s context are enough, aren’t they? In this modern reading the content is inevitably objectified or travestied, reduced to a symbol or a picture leaving very little from the original text. <…> This performance can be a clip, a tongue-twister, a student theatre of various miniatures, anything but to support its life the young people need to jump over their heads. They are good at doing it. There is something more in the performance: it is a wonder of the world. According to Mamardashvili, it is the same wonder which the philosophy can begin from”