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ContemporaryBelarusiantheater’sstruggle fordiversityThe staging of the plays by scandalous yet widely recognized Irish playwrightMartin McDonagh’s was a kind of breakthrough for the Belarusiantheater. They were staged in the New Theater first and then on the smallstage of National Academic Yanka Kupala Theater. Unfortunately, theseexperiments did not get any support from Belarusian critics; on the contrary,journalists of some state publication accused directors and managersof theaters in the lack of understanding of “what they want to say,” whilethe playwright was labeled as “pale.” After such reviews, the appearance ofmodern plays in repertoires is highly questionable.The Belarusian State Puppet Theater’s director Aleksey Leliavski standsout in this environment. Besides his planned shows for children, AlekseyLeliavski develops the experimental genre of building theatre that fusesthe forms of drama, puppet and plastique theaters. His unconventionalinterpretation of Chekhov’s The Seagull, The Cherry Orchard and Three Sistersuses the latest achievements of contemporary European theater.The Slava Inozemcev’s InZhest Theater that emerged as a result of studioexperiments in the 80s continues its successful and aesthetically completework. Although the theater does not have its own stage and is in constantfinancial troubles, it continues to stage plays and experiments with differentforms (plastique, Butoh dance, theater games, and video). It also hasits own studio that supplies new actors to the theater.The Free Theater is a unique project in Belarusian theater environment.Although some call it a political speculation, this is the only permanenttheater project in Belarus that tries to be as truthful as possible in reflectingthe current Belarusian political and social “here and now.”The Free Theater went beyond just allowing themselves to talk on anytopic of their concern. It applies this rule as a main principle of its activities.The topics that are officially tabooed are openly and ruthlessly presented
in the plays of the Free Theater. Unfortunately, after the latest presidentialelections the troupe was included into the “ban list” and cannot performin Belarus, so they have to live abroad.The successors of the Free Theater are students of Fortinbrass studio thatwas created by the theater several years ago. Having no formal theatricaleducation, they write plays in the underground, publicly read them andmake their directorial debuts. The Rima Ushkevich’s play Flawless (Bezuprechnyi)made it to the short ‐list of modern drama HotInk in New York.The First Independent International Festival of Experimental Theaters– That Very Festival became a significant event for Belarusian theater environment.It was organized by a group of enthusiasts from theater “ROND”with the help of Bonn Municipal Cultural Institution (Germany). The basisfor the six ‐day program was formed by street and plastique plays of experimentalgroups from Czech Republic, USA, Slovakia, Slovenia, Poland, Russiaand Belarus. The huge interest to the festival has proved again that thereis a “deficit” of alternative theaters in Belarus, since their development andpromotion is not in any way supported by state programs.Naturally, the form of Non ‐Dances by Eugen Korniag, Being Harold Pinterby Vladimir Scherban’ or Access to Body by Viacheslav Inozemtsev arenot an innovation for the European theatrical context. However, each ofthose projects is a “small victory” in Belarus, since they make an importantstep towards the theatrical diversity. In conditions of monotony the mostimportant thing is not how something is done, but the very fact of usingalternative forms to present alternative materials.Unfortunately, many of those projects are not featured in the media,have to survive in semi ‐underground conditions or are shown only onceduring stage reading. Such “elitist” nature of independent project negativelyimpacts the formation of the diverse theatrical environment and contributesto the myth about Belarusian theatrical helplessness.One should remember that the authors of those projects have to “invent”new forms for Belarusian theater. There is no theatrical education in Belarusthat would be alternative to academic education. Belarusian Academy ofArts educates future traditional theater workers. Its curriculum has not61
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Contentswithout INVERTED COMMAS…
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without INVERTED COMMASLet us talk
Page 9: hori zon
Page 12 and 13: Why doesa Belarusianhear novoice of
Page 15 and 16: give up. Of course, for him that co
Page 17 and 18: of its fellow citizens? Certainly y
Page 19 and 20: they would not have been able to su
Page 21 and 22: embed the Belarusian identity in Eu
Page 23 and 24: in collaboration with philologists
Page 25 and 26: acking independent culture, promoti
Page 27 and 28: the tools and methods conducive to
Page 29 and 30: Valiantsin AkudovichPhilosopher, es
Page 31 and 32: What is your attitude to the change
Page 33 and 34: How can you evaluate or try to diag
Page 35 and 36: Troitsa for several years, and I se
Page 37 and 38: The most important positive trend i
Page 39 and 40: human rights situation in Belarus i
Page 41 and 42: or a dozen of painters... Within tw
Page 43: the context in which this art is cr
Page 47 and 48: Belarusian contemporary art is repr
Page 49 and 50: The only difference is that the “
Page 51 and 52: Some authors left for good and buil
Page 53 and 54: Belarusian art “underground” to
Page 55 and 56: Meeting at round tables, Belarusian
Page 57 and 58: The 00s: the attack of youngstersTh
Page 59: community. During four days, six yo
Page 63 and 64: Independent theater in contemporary
Page 65 and 66: Independence islandDirector Eugene
Page 67 and 68: physicality; that sphere had been a
Page 69 and 70: Britain, Vasilliy Sigarev and Maksi
Page 71 and 72: Belarus remains uncharted territory
Page 74 and 75: N.R.M. stayed in my perception as a
Page 76 and 77: Rock bandsBelarus:unchartedterritor
Page 78 and 79: concerts: I got trapped by modulati
Page 80 and 81: The painpointsof theBelarusianliter
Page 88 and 89: Modern Belarusian cinema is a myste
Page 90 and 91: Dawn atcolonialruinsThe storyline o
Page 92 and 93: Dawn atcolonialruinswished to see t
Page 94 and 95: Dawn atcolonialruinsThe film’s ch
Page 96 and 97: Dawn atcolonialruinsconcentrates on
Page 99: culture interviews
Page 102 and 103: Tatiana Artimovich: Valentina, the
Page 104 and 105: position our exhibitions as curator
Page 106 and 107: far. Of course, we are interested i
Page 108 and 109: his or her innermost? What is the r
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even with no value to anyone, in or
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State,writer,publicationI.L.: I thi
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State,writer,publicationpopulation
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State,writer,publicationin Belarusi
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With no independent record label en
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S.R.: How was the idea of your late
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Show businessin a countrythat bansa
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Show businessin a countrythat bansa
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ecause it is state ‐owned. Still,
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Belarusian independent music projec
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Ishallmakea stormЕ.К.: We started
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S.R.: In your view, a project can
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Ishallmakea stormЕ.К.: I link the
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While cinematography all over the w
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as the script writer Gennady Shpali
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Shoota goodfilmthe beginning to the
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А.К.: Yes, there are. But, their
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The Minister of Culture has found t
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There arestill someartistsout there
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Solidarity with Democratic Belarus,
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epresent and protect common propert
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Specific regulations of some types
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NGOs can engage in entrepreneurship
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the city of Minsk. The legislative
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of the state, and on the status of
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Any association that is not control
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actively learning from the experien
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as freedom, human rights, independe
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Educational associations are tradit
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The legal framework governing the a
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election monitoring teams’ assist
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culture, history, and sightseeing,
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already in 1996. The climax of the
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the Polish Democracy Support Fund t
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taking over certain public tasks) t
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c) Dependent organizations - such a
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state system, nothing should preven
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Despite the centuries ‐long discu
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Fight for independence in the early
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Mid-‘90s: a new page in Belarus
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The association of relatives of pol
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With history textbooks re ‐writte
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The 2008 reform consolidated the st
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The role of teachersNot only pro
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with necessary tools. They suggest
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aim at building a modern Belarusian
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Intellectuals in Belarus view their
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is joined by the historian Alexey B
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the last twenty years and take a lo
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ought by the old system, and get th
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Т.А.: Right. We all clearly reali
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the Development of the Belarusian L
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the government has been giving us p
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language and to the culture in gene
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to Chinese than to Russian. We have
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A.B.: Zhanna, the work of BAJ in Be
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in this country in the past year, a
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Such problems are hitting hard the
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Zh.L.: I have a reserved attitude t
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The Belarusian state treats gender
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which together with a person in nee
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at improving social protection of w
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protectionist policies do as much h
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Belarusian officials for the most p
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А.К.: What are the main spheres o
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А.К.: Besides the National Legisl
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to time. As soon as the political s
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modern Belarusian culture exists an
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AuthorsAndrei Rasinski - is a Belar
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