|Bobo is dead. Pardon me, my Babylon|
Introduction The story Nemrod's House A forth dimension Silence Staff Back
Interaction and penetration of styles, images, strategies, either traditional or modern, form 3 different, independ scenic realities on one hand; on the other hand they fuse to one play: the cruel reality of the comedy of manners, the styled reality of the biblical parable and also the phantastic reality of dreams.
The symbolic of the Ritus, as old as the world, the actuality of what is happening, "now and here". Everyday Life hides behind the mask of myth. Modern and traditional styles, strategies, images, productions and the dramatic texts in different languages unite and form differnt layers, like a labyrinth. And in this labyrinth the babylonian language-carnival takes place.
A theater-company (like the company of INTERSTUDIO) rehearses a play on King Nemrod. The stories, which form the subject, are very different and represent all shades of human life, from comedy to tragedy, from farce to grotesque, from death to cosmic transformation.
But the Tower of Babel is already erected: everybody speaks in his own language, incomprehensible to the others. They are lonely, without
real communication, without longlasting human relations, as we are.
Is there an exit? A ritual? In work? In love? They search for it in a cooperation which absorbs all their individuality: love, misunderstanding, discussion, sympathy and antipathy.
The play on Nemrod develops to a kind of Tower of Babel itself: community, which destroys or levels individuality.
It's a shelter of cruelty, brutality and small obsessions, vanity and error. Selfdestruction is built in its fundament. Nemrod, son of Kush and grandson of Cham, a petit bourgeois par excellende, came to power by chance. As descendant of Adam and Eve, he inherited their clothes which where created by god. These clothes show animals on their knees like people. Nemrod became "brave knight", "first emperor of the world" and the first agressor in history.
He brings people to revolt against Jahve, thinks of himself as god-alike, tries to fight against his destiny and to penetrate heaven by provoking war and erecting the Tower of Babel, "the House of Nemrod".
A Fourth Dimension
It could be the magig of an empty space. As the view of a gorge provokes physical vertigo, an open door, open to emptyness, provokes metaphysic vertigo. "This dream leads to emptyness" If you read such an inscription, can you resist to open the door?
The fourth dimension opens itself for those drunken of life. Behind this door is space where dreams and reality are equal, where eternal symbols hide in the masks of modern mythology. The phantastic reality of carneval is unlimited. She shines through all layers of the play, she melts into the psychology of the manners and in the parabels.
Masks are mirrored like in a mirror cabinet and hide the reality of the collective unconscious.
It's the alchemistic mixture of reality and carneval. Themes of different epochs and stiles mingle to a gordian knot which can only be loosend by dead ... or birth.
SilenceWe are looking for an exit and fear the unknown which hides behind the door. We try not to forget the message, infinite like the martyrium of our life. Every exit is entrance. Pardon me, my Babylon.
The existing languages die away in the scenic space of Silence, which is the base of all languages.
The theater play "Bobo is dead. Pardon me, my Babylon" is the result of the cooperation of actors and painters, directors and teachers of the workshop of the Theater of Synthesis and Animation of Mikhail Khousid and Juri Sobolev. It was worked out during rehearsals and study. Everybody participated, with personality and experience.
|Assistant Directors||Vadim Isakov
(Duke Ellington, Art Blakey,
Diamanda Galas, Meredith Monk,
Erik Satie, u. a. )
basing on Josef Brodsky's
poem "Bobo's funerals"
|Stage Design||Nil Bakhorov
|Films, Diapositives||Vadim Isakov
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