Spec­ta­cle à 11 décem­bre à 19h00
place: @wildelelieu
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Mise en scène: Vasilii Berezin en scenografia
Text: Zdanovich
Music: Dol­phin Hos­pi­tal en Vasilii Berezin
The nov­el turned out to be about how I remained, despite every­thing around me, alone in this mad New city — sur­round­ed by an entire­ly dif­fer­ent cul­ture — and how it trans­formed every­thing that was hap­pen­ing to me. Incred­i­ble dis­cov­er­ies and a new­found sin­cer­i­ty, which, I believe, are the essence of why con­tem­po­rary the­ater exists.

This text moved me. I do not know how the sto­ry will end, but I know that there will be a hap­py end­ing, no mat­ter what. In all real­i­ties and amid con­cen­trat­ed dys­func­tion­al con­di­tions, one can dis­cern the notes of a liv­ing per­son who, at some point in their life, was left alone with the text and became an intro­vert. Like in a table­top game.

And just like with the rules of a table­top game, we can only guess how one might breathe the air that could pre­vent the applied actions of per­pen­dic­u­lar devices. For me, this is an exper­i­ment of a sin­gle actor who can only, through move­ment, stand on their feet, make mis­takes, and take a step for­ward. And this can­not be the pri­ma­ry function.

A table, music, a chorale, and action.

In a gray zone of frus­tra­tion and uncer­tain­ty, we nav­i­gate a space devoid of clear cul­tur­al or tem­po­ral iden­ti­ty. This melan­choly indus­tri­al envi­ron­ment resem­bles a pur­ga­to­ry for those with­out a clear cul­tur­al anchor, trapped in cycles of rep­e­ti­tion and iner­tia. Time seems frozen, events fol­low one anoth­er but some­how bring us back to the same point, as if we were trapped in a mem­o­ry cap­sule or had become that cap­sule. […] Through this per­for­mance, we explore the pos­si­bil­i­ty of accept­ing our sta­t­ic state, the strug­gle to remem­ber or make sense of our past, and the fleet­ing moments of break­through to a brief, elu­sive clar­i­ty. It's a jour­ney where famil­iar yet unknown real­i­ty slips through our fin­gers, leav­ing us lost in a per­pet­u­al loop. All in all, it's not a very opti­mistic per­for­mance, but it's made by/for very opti­mistic people.

Je me retiens — un sketch­ing-per­for­mance sur la cen­sure intérieure et extérieure, la mémoire du corps, la pro­tec­tion et la transformation.
Le fil — comme chemin, comme fron­tière, comme masque.
Le corps — comme archive des sensations.
Le mou­ve­ment — comme forme de réflexion.
L’arrêt — comme prise de parole.

Immense grat­i­tude à :
🎶 wass­i­ly bosch — pour l’univers sonore tis­sé avec justesse dans la dramaturgie
📸 @isa_okita — pour un regard qui a su capter le silence et la tension

Ceci n’est qu’un début.
Un geste de résis­tance et d’acceptation.

Room is an exper­i­men­tal spec­ta­cle, a dig­i­tal dra­ma by Vitaly Labutin based on a play by Ivan Vyry­paev “Dream­works” and was played sev­er­al times in Tbil­isi, Geor­gia in 2023 with sev­er­al ver­sions on live music includ­ing one with music by Wass­i­ly Bosch (as Dol­phin Hos­pi­tal).

The spec­ta­cle is hap­pen­ing in sev­er­al dimen­sions and time­lines with some of the char­ac­ters exist­ing only vir­tu­al­ly in dig­i­tal envi­ron­ment pre­sent­ed by Yulia Krivosheenko, visu­al / dig­i­tal / gen­er­a­tive artist.

labutinlab.com/room