Home Театр.doc // „Вакханки“ – „The Bacchae“ // Эврипид vs. Лисовский

Театр.doc // „Вакханки“ – „The Bacchae“ // Эврипид vs. Лисовский

by Dana Bondarenko


TEATR.DOC // The Bacchae
directed by Vsevolod Lisovsky

2.2.2019, 19:00
3.2.2019, 19:00

Vsevolod Lisovsky, a contemporary artist and a theatre director, is a major figure in Russian theatre underground. The underground already existed in Russian art in the 70s and 80s, during the Soviets. Back then it reflected the artistic protest against the official ideology and mainstream art. The underground foresaw and anticipated the Perestroika. New underground started to emerge in a new, post-Soviet Russia in 2012 when the newly elected president Vladimir Putin announced a conservative way to the country. Independent Teatr.doc, where Lisovsky works, became a subject to regular attacks by the state. The state attempted to establish censorship. At this point Lisovsky mobilized as an artist. He embarked on a path of opposition to two powerful and competing forces at the same time – the conservative theater and the liberal one.

In his resonant works such as Akyn-Opera, Implicit Impacts, The Silence of the Classics. The Bacchae, Lisovsky frees the theatre both from dogmas and situation demands. For example, in The Bacchae based on tragedy by Euripides, Lisovsky takes to the stage two dozens of naked people, both men and women. Euripides text is projected to the wall and the audience read it in silence. While the members of the performance, literally speaking, read the text in the eyes of their audience. Women on stage wallop men in the glory of Dionysus, and do it with ever increasing enthusiasm. In this performance Lisovsky revolt against censorship. As well as against artistry. Against beauty. And against the aesthetization of terrible. His naked actors are mostly not artists. Among them, a newspaper editor, a singer, a technical director, an administrator; they are out of aesthetic in all senses, and Lisovsky does not create an aesthetic framework for them, similar to what Kirill Serebrennikov does in his resonant work Müller. Machine. The trendy director is obsessed with the liberation of the modern man through the legitimization of the naked body. Just as Jan Fabre is, who made a significant impression on Serebrennikov.

Bodily expression, bodily-affective perception in Russia is developing not only in drama, but also in contemporary dance, performance, and inclusive theater. Corporality develops into a trend. At Lisovsky performance once can experience what the world will be after Fabre and Serebrennikov complete their work, theater will be everywhere and nowhere, at least it will cease to be a paid service. Lisovsky makes the theatre of the future right now.


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On-site (Abendkasse): 18€

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