Drama School of Improvisation

Drama School of Improvisation

Our School is developing its own concept. The fact is that our theatre is available for everyone and at any time. This is a possibility of creative contact with reality. From our point of view, eternity of love underlies the reality. We have chosen this very one eternity. It is said, that much depends on choice.

As a rule, play will become more unusual if the dialog with reality is opened. This is natural, as the life is a very unusual trick, and teaches us with patience to her enigmatic language. For example, the project “Big Improvisation” is a maximum contact with unknown, as actors find during the play both the text and the story. Spectators very often play with us.

If you have a dialog with the world, a great number of companies appear. Among them there are different places such as Chişinău’s catacombs, hotel’s “Naţional” roof, the blossomed apple orchard during the rain, and, of course, different seasons. After we had written the repertoire’s cycle, we found that it concurs with the year’s one. Every season is responded by one performance. Actually we had to take a walk on the “all year’s sides”. We expose modern models of carnival that exists not very visibly in Chişinău. Carnival is not just a colourful show. This is an ancient theatrical rite of man’s return to the community with himself, world and other people. This is a disappearance of all illusive bounds including the death. Mikhail Bakhtin, an outstanding philosopher, rose from the dead in the XX century. It comes out, that we closely and purposefully create modern carnival according Bakhtin, i.e. according maximum concept. God help us! As far as we know, Chişinău is the only one city where Bakhtin’s carnival settled down. There are no explicitly other places on the darling Ecumene now. But we hope they will appear. Carnival didn’t think really to die, you know; it only pretended to be dead in order to drink well at its own funeral. In Chişinău, where carnival hadn’t ever been, it happened for the six times. Wait for the seven one.

We develop and practice actor’s technique of work with the stream, or in better words, dialogue and contact with it. Stream is an individual and unique ray of eternity everyone has. We carry out this energy through all the theatrical elements: motion/movement, text, and contact with partner, and etc. That is, all you can see on the stage is the implementation or revelation of eternity. Then we watch what changes have happened in the energy properties of the space and what is going on. Obvious and non-, drama and rite, inner and outer, finite and eternal continuously interact and increase one another. What does eternity get from this? It gets the same the loving person gets.

It should be noted that meditation has been practicing in theatre since the 30ies years of the last (the XX) century. The theory of fruitful conversation between man and Universe was elaborated by Nicolay Berdyaev, Mikhail Bakhtin and Martin Buber in philosophy, and by Antonin Artaud, Jerzi Grotowski and a certain Klim in theatre. At the end of 80ies Klim founded a conception of actor’s conductivity in the Moscow’s theatrical studios under the Meyerhold’s Centre, and conversation happened just with the world’s essence and wholeness not with separate energies (wind energy, earth energy, vital energy), which can easily be concretized. Klim made actors and audience go out on the contact with eternity, and everybody, even the eternity, was very obliged to him. Our School appeared from Klim’s basement, like some authors, from Gogol’s “The Overcoat”. By the way, Klim was born in Gogol’s places…

He likes to say that true follower had to take the most valuable from the true master and make off, but get blessing in time. It means that we are already his followers for sure. Далее...