3 Sisters Fomenko, Golden Mask 2006 : Первый сюрприз поджидает зрителя «Трех сестер» еще до начала действия: в углу сцены за конторкой сидит Чехов (сверимся с программкой: там персонаж Олега Любимова назван просто Человеком в пенсне). По ходу пьесы он, читая отрывки из чеховских писем, будет не то чтобы делать заметки на полях, а скорее осуществлять авторский надзор, делясь с публикой сомнениями относительно, скажем, того, можно ли доверять Станиславскому самостоятельную работу: нет-нет, надо непременно ходить на все репетиции!
fomenko.theatre.ru
Anatoly-
Do you realize what this means? This means you are in space and time
as variables. There are too many perpendicular lines…Epic and Drama…
But I think that individual points need to be clarified. It is amazing
some of the combinations, but they need to be pulled apart. To begin
with, who is your audience? Each is going to require a different
type/level of explanation. It should be step by step. You are
combining three schools here in one swift blow, so it should be a
gradual explanatory process. The Brecht, Artaud, and Eisenstein are
all sleeping in the same bed…but how? The focus on individual items to
convey meaning is from Eisenstein, and is the benefit from the use of
film. The HTML separates itself from the film in the process however.
What you are attempting sounds more like Dionysus in 69 than Wild
Strawberries. There are "Cruelty" aspects with the actors struggle
being so obvious to the audience. The live audience won't be allowed
to forget for a minute that they are watching the play- the equipment
alone will do that. Sorry that this is such a simplified breakdown,
but it was just the area that I was thinking you might be going with
Virtual Theatre.
I see the process being on-line to be a use of HTML, but I don't see
the live broadcast that different from TV when it boils right down to
it.
It is the process that works on the web, and works in demonstration-
this is educational theatre, and therefore process is stressed. The new
process to me is what is interesting.
I have been observing the web as a great communication tool. I do come
from a background of gay activism, so I am biased. I have seen within
the GLBTS rights struggle, a community and civil action has been formed
through binary code and html. Ruralites were able to connect to those
in the ghetto, and if there is a hate crime in Bethel I get an email
the next day (which is good because the newspaper is still lax to
report anything). So I am biased in that I can see the effect that it
can have.
I think this is what Alan Ginsburg would have wanted when he said that
everyone should have free and complete access to printing presses. So
everyone can do his or her own independent comics…
Even photocopies inspired artist like Barbara Kruger to invent a new
genre; the Internet should become a medium for performance.
Sorry for my rambling, I am just very excited about the direction that
things are going in.
I just think a manifesto can go into either more depth or be very
specific and simplified. Each point should be a thesis for a full
textbook to be written. As it stands I left feeling vaguely confused
about something I have been dealing with for some time…
That's my two cents for now…
Thanks,
Jason
Theme-thought, according to different playwrights (Shakespeare, Ibsen, Strindberg, Chekhov and so on) and directors (Fillini, Kurosawa, Tarkovsky, Bergman pages).
Connections with other themes (list): family, gender and sex...
Finally, my own practical investigations: shows.vtheatre.net (only recently I began to make themes pages, Don Juan 2003, for example).
And the nonfiction (writing), of course: HIM, Father-Russia, PostAmeriKa, Self, POV, Tech (gatepages are in WRITE directory).
theatre theory 
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