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Ivan Viripajev
KISEONIK
(Ivan Viripaev/Kislorod)
Translation: Novica Antić
Directed by: Tanja Mandić-Rigonat
Cast:
She - Radmila Tomović
He - Goran Jevtić
Premiere
on Belef : August 2nd, 2005.
Premiere on JDP scene: November 17th,
2005.
duration: 1h 20' |
Scenario and music choice: Tanja
Mandić-Rigonat
Scenography: Aleksandar Denić
Costumes and dolls: Milena JNK
Assistant director: Ana Prokić
Sound design: Zoran Jerković
Painter of dolls and costumes: Nevenka
Milosavljević
Executive producer: Milena Stojićević
Executive production: BELEF centar
Costumes: Vesa Karanović
Doll designer: Milan Filipović
Lights: Nenad Jakovljević
Sound: Dušan Radovanović
Inspicient: Mihailo Todorović
Photography: Đorđe Tomić |
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| About
play |
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Tanja Mandić-Rigonat, directed by:
«Kiseonik is written as ten
compositions with strophes and refrains,
denied of descriptions. On the contrary,
director is stopped to parasite on
writers back and is called to write
«himself» in offered song. Viripajev
simply knows that it is not fair, nor
human to write about freedom, and
offering act in formal plan closed in
prejudice about theatre act. For that
reason, directing KISEONIKA was like a
jump over imaginary wall that rushes
towards the sky. And in that wall is all
possible and impossible questions that
concern me, fears and illogical of life
today that is slapping your face from
ten compositions, but also questions
«what language to use to tell the
story». Because KISEONIK is not
documentary illustration of the problem
of civilization downfall in the spirit
of realism, but also poetic sublimation.
During rehearsals, actors and I were
questioning a thousand times everything
that we thought we know about life and
theatre. Because Viripajev, as direct
descendant of pursuit for different
theatre expression, descendant of Harms,
Vedenski and theatre avant-garde,
allergic when theatre is in question..
KISEONIK is a story about Sasha and
Sasha and generation towards which,
somewhere from deep cold space, meteor
is coming straight to ... where? Head?
Heart? That threat includes time and
speeds up search for some ancient center
of humanity, that, when awaken, can draw
a different map of life.
For the beginning of change you need
courage to think for yourself. It is not
the problem if God exist or not, if he
is invisible or visible, present or
absent, awake or asleep. Problem is how
to be a man and what does it means? How
to be a living being and not a puppet of
system or ideology? Not to be a
mannequin of consumer civilization. And
every real rebellion begins with a
question. «How do I live my life, what
is my oxygen (kiseonik)?»
In the space of «society classroom», he
and she demand sense and remind that not
to live, not to think about life, is
really a mortal sin.
Marina Davidova (Известия, 10.
decembar 2004.)
Ivan Viripajev – its ultramodern
drama, representative of new forms. She
is interested in rhythm of text much
more than its contents. It is still
interested in man and its sins, life
without love. This is how Viripaev is
close to Volodin.
On the beginning of «Kiseonik» Sasha,
young man, kills his wife because he is
in love with another. Then everything is
mixed. From chaos of dark thoughts,
clear ten part composition is born. Ten
variations on subject of Ten
Commandments. God’s words, «in the
beginning» are examined from the point
of what was later or now: drug
addiction, terrorism, crisis of
consciousness. |
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| Critics |
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ANA TASIĆ
Spaces of freedom
Text Kiseonik by Ivan Viripaev (ten poems, where
each represent on of the Gods commandments)
treats problems of love, violence, sex, epidemic
obsession with money, politics and terrorism in
postmodern multinational societies, that are
discussed by two main characters, He and She.
Text is giving basic dark picture of modern
world and man that is psychologically divided
and disoriented, that in certain way determines
unconventional form of play, without doubt
challenging for scenic interpretation..
Scene is consisted of two rows in classroom,
many dolls and lots of cans on the floor that
are giving the viewer lots of associations (like
alcohol consuming). Image of Him (Goran Jevtić)
is gothic (provocative and threatening black
clothes, punk haircut, black makeup)), can
represent his marginalized social status, while
Her appearance (Radmila Tomović) is opposite;
She wears pink clothes and has wings, that can
represent presence of women’s attributes:
kindness, love, compassion, subtlety. By shaping
two characters, the actors are traveling through
various transformations and constantly changing
game: from common truths, emotionally naked
personal confessions, to even rude stylization (
mechanically representing soldiers without
consciousness or faceless mannequins of
fashion).
Poems (scenes) are divided by the sond of gong
and neon lights. Each song has its title that is
revealed on the end of previous.
(Taken from Politika)
IVAN MEDENICA
Thirst for life
Let’s begin from the title. Oxygen (Kiseonik) is
the main verbal, poetic light motive in this
play written by young Russian author Ivan
Virapaev. Craving for life (oxygen) an with
(oxygen) full sails, becomes even noticeable in
modern world marked with marriage violence,
terrorism, alcohol and drugs, double morale and
natural disasters, and in Ivan Virpaev’s drama
reaches daring and paradox heights when, as we
will see it, it becomes bizarre alibi for murder
in justification of strong and love without
compromise.
Mentioning poetic form brings us to the main
question in analyzing this play. Oxygen has a
drama form that is clear as song: the play
consists of 10 parts based on biblical
commandments. The writher organized them in
strophes, refrains and finale. Some contours can
be seen – young man Saša killed his „wife with
no oxygen“ because of his crazy love for Saša,
„girl with oxygen“.
This play does not have a story. It is full of
poetic, politically direct statements. As such,
drama Kiseonik can be related to post drama
theatre (German theorist Leman) that denies
narration and figuration, and more importantly
emancipating speech from drama structure. If we
would reach for pathetic metaphors, we could say
the text is a river of sharp and unconnected
poetic waves.
It is clear that this form presents a great
challenge for the scene. In the play, co
produced by BELEF and JDP, the director Tanja
Mandić Rigonat was trying to maximize play with
this flow of speech, and to build plastic and
metaphoric scene language. Facing this
challenge, the director began with space for the
play. Together with Aleksandrom Denićem, scene
is like a classroom or courtroom, that gave her
basics to imagine drama situation. Specific part
of drama were then placed in imaginary drama
situations like lawyer prosecutor competing in
courtroom, child play in classroom, confessions
while in the high state, etc.
These solutions were imaginative, metaphoric,
and dynamic. However, since they are highly
concentrated, contra effect appeared. In another
play directed by Tanje Mandić Rigonat we had
over direction, scene suffocation made by lots
of imaginary situations, games with dolls and
other solutions.
(Taken from Vreme) |
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