DE I / DESILLUSIONIST magazine
DE I / DESILLUSIONIST #03 : Jani Christou and His Crash Sheet Music DE I / DESILLUSIONIST #03 : Editorial. Roksolana Chernoba DE I / DESILLUSIONIST #03 : Biophonics: The Power of Divine Vibrations of Voice DE I / DESILLUSIONIST #03 : Polunin. Who Needs Working if Miracle Does Not Happen DE I / DESILLUSIONIST #03 : Vincent Durbak. Jewell Tunning DE I / DESILLUSIONIST #03 : Baroque girls:  Deborah York, Lydia Teuscher, Anna Bonitatibus DE I / DESILLUSIONIST #03 : Table Of Contents DE I / DESILLUSIONIST #03 : Menegetti. Two Morals of Wisdom DE I / DESILLUSIONIST #03 : Give Zholdak Back DE I / DESILLUSIONIST #03 : Events 2006. We at “DE I” would like to mention DE I / DESILLUSIONIST #03 : The New Guinean Experience DE I / DESILLUSIONIST #03 : The Apocalypse of Geidar Dzhemal DE I / DESILLUSIONIST #03 : Piano Casa of Peter Aidu
DE I / DESILLUSIONIST magazine#03

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DE I #03: Give Zholdak Back

Give Zholdak Back!

The last year, his phenomenal staging of Shakespeare’s “Romeo and Juliet” in Shevchenko Theater in Kharkov, Ukraine, shook theatrical Europe. After open performance of the drama, Ukrainian authorities asked the chief director Andriy Zholdak to never present anything in his country without a special permission from them.

Artists were courageous enough to give several performances in Berlin without asking permission, and as work in Ukraine could not be continued, Zholdak left the theater.

To escape a gap in practice, Zholdak takes an offer from Berlin where he stages “Medea in Town”, his new play. We speak to the one of the most prominent and paradox representative of the modern theater. He answers in style natural for an idealistic dictator in hiding from revengeful opposition. Today he is BPUJQ (Russian word for OUTCAST, izgoy printed on PC keyboard without switching alphabets) but he feels he is right in his loneliness, as those who oppose him are wrong because they are numerous. It is possible that this is the very controversy that makes cowardly and nightmarish theater of Zholdak possible.

- When working, I become a strange being somewhere between human and beast.
- I feel that the aim of the theater is to wake something up in a person so that he would understand that everything he ever does is not the real thing.
- I seldom speak to actors; I mostly write notes for them or hypnotize them from the distance.
- Every director is the man with the knife, an actor for him is a phantom that has to be put in the picture frame.
- I had a dream that I stand on the shore dressed in white. There is a colossal storm, and I conduct it, it starts to obey me, waves stop. I was a composer; I made the music of the Ocean. When I am in crisis I dive into this memory and in a moment get the information.

© DE I / DESILLUSIONIST #03.  


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