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The Barbuzons THEATRE
Sculptural theatre?.. Dance theatre?.. What kind of a theatre is that? They call their performances “scruples”. “The Barbuzons” locomotor scruple, “Dzerzhinsky” conceptual scruple, “Farmer #0” agricultural scruple. Scruple as a path. Or could it be an attempt to avoid definitions? Setting limits for freedom? Questions.
They wonder whether their dance is a dance, or their absurd clownery - a clownery, or whether their body is their body. But there is no doubt about them working together for seven years and their quest being an interesting and a controversial one. It leaves suspension points in the viewer’s soul. … These people use all punctuation marks but points. For them movement is not always a thought, or, as they put it, ‘A thought is not necessarily a movement.’ (Tadeusz Zusky, Hungary)
The theatre began as a sculptural theatre project on the roofs of St.Petersburg (“Pantomime on the Roofs”) in March 2001. Later came the “Notes of a Madman” (2003), “In Search for Markus” (2004, together with ‘Bönke company’, Berlin), “Wardrobe” (2004). In 2004 Roman Gabria won the prize for the best male role at “Vremya Letat” (Time to Fly) Festival. “The Barbuzons. Genesis” was premiered at the “Vertical” International Festival in St.Petersburg, 2004. The same year the theatre started to work with DEREVO theatre, taking part in «Ketzal», «Robert’s Dreams», «Wandering Jew», «Wolves’ Tango», «Execution of Pierrot», «Wheel of Power», «Islands in the Stream», «Once».
During the last year R.Gabria and M.Didenko performed in the “Antresol” actors’ club at Vasilyevsky Island, where they found a field for experiments offered by “AXE” theatre (shows “The Barbuzons. Genesis”, “Farmer #0”, “Giaconda’s Smile” (solo by R.Gabria).
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2012 • [ìàé]
Ñàíêò-Ïåòåðáóðã,
Ïåòðîïàâëîâñêàÿ êðåïîñòü,
Íåâñêàÿ êóðòèíà,
ëåâàÿ ñòîðîíà
(ÏÏÊ)
[êàðòà]
Òåëåôîíû:
(812) 233-0040,
(812) 233-0553,
Ôàêñ:
(812) 233-0040
e-mail:
office@proarte.ru
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