Workshop “DEREVO System”

Dresden 8 & 9 April 2017

In co-operation with the European Art Centre HELLERAU / Dresden

Venue: Rehearsal Studio of the Festspielhaus Hellerau, Karl-Liebknecht-Str 56, 01109 Dresden

DEREVO System works primarily with Body, Energy and Fantasy. The Workshop comprises complex exercises: body training, psycho-physics, imagination development. There’s also working with rhythm, musical textures and the basics of various dancing techniques. Particular focus is given to the daily influence of words, memories, speech, news on creative process within physical theatre

The Workshop is aimed at participants professionally interested in Dance and Theater, as well as filmmakers, performers and musicians.

There are 20 places available for participants, who take part in all physical & dance exercises. Additionally 10 places available for listeners, suitable for teachers, students, culture managers and so on. Maximum number of all participants is 30.

Workshop agenda:

Saturday 8.4.2017 / Sunday 9.4.2017
10.00 – 13.00 Training and practical exercises
13.30 – 17.30 Theory & practical exercises

Active participants must have comfortable shoes, training clothes, socks. Please do not use any perfume on you. You may bring a notepad and pens. All electronic devices must remain switched off during the workshop. Absolutely no photo, audio or video recordings allowed.

Workshop fee:

150,-€ active participants / 50,-€ listeners
(incl. Water, Tea, Fruits)
Concession for early bookings 10%: 135,- €*/ 45,- €* if your payment arrives before 19.03.2017

Workshop fee does not include accommodation costs.

You may like to use some online translation tool to ensure to fill out the form fields properly.

Should you have any questions or require any support with your on-line application please contact Ms. Isolde Matkey in Dresden:
+49 351 4057474
or
info@tristan-production.de

Applications become valid as soon as the workshop fee is arrived at DEREVO’s account and you received a confirmation by e-mail with further details about the workshop.

Closing date for applications is April 6th, 2017

Text: Anton Adasinsky
English text editor: David Kemp
Photos: Katja Pietrusky, Roman Ekimov, Elena Yarovaya

Mephisto Waltz – always a struggle.
I struggle with my current reluctance to shake Death’s scythe and with the drunken genius of Shalyapin.
Gustav Holst struggles with electronics by Daniel Williams.
The audience struggles with the eternal “Planets” and today’s DEREVO.
　
We perform in the territory of the question:
“Is this Theatre?”
“What is this?”
　
In the past, less time was needed to take the audience into the zone of paid lunacy.
Interesting.
　
My solo work “Shell” has finally happened!
I want more!
　
And now, with the original cast, “La Divina Commedia” in Dresden!!
Tanya, Lena, Oleg, Alexey and me.
As the saying goes – HURRY! NOT TO BE MISSED!
　
Anton Adasinsky

English text editor: David Kemp
Photo: Natalia Korenovskaya

The story of the clones ended in 2164.
It started boringly and finished unnoticed.
The last clone reservations in Canada didn’t even need guards.
It was difficult for mere mortals to get there, for the reservations were also the territory of the ‘Indians’. But if somebody was still interested, the cost was inexpensive and there wasn’t much to see.
As was well known, the clones could speak any language but their words were dry and sparce.
When they spoke they looked at the nipples of their interlocutor, left eye on the left one, right eye on the right one.
They never asked any questions.
They would end a conversation abruptly and the stories about their ability to foresee or heal were just bait for tourists.

But in just ten years the remaining 150-200 thousand clones were bought by the Swiss, ostensibly to end the experiment.

Canada and the ‘Indians’ were happy.

The last notorious case involving clones began in Geneva, in its swamp of boredom and eco-paranoia.

The first performance of Shakespeare’s “Titus Andronicus” took its course as usual, with dinner and lethargic applause at the end. All quite ordinary until the moment when a gaunt and frantic clerk stepped on stage and announced to the “most honourable audience” that tonight 43 people had died on stage. In response to the laughter from the stalls he raised a curtain and pointed to a pile of bodies, a concise snapshot - “Clones”.

“Titus Andronicus”
It does indeed have many killings
And impeccably played and perfectly real, the death of a clone-actor attracted spectators hungry - now just as in ancient times - for blood.
But the terms got more complex, and a particular privilege became not just to watch throughout and clap at the end
But to also attend the funerals.
The clones weren’t buried or cremated. They were dissolved in a solution of complex composition bearing the glorious name “Sfumato” - the haze of Florence, raising a mountain in the hearts of those who never stoop.
And this elite audience, bidding farewell to the body of a clone melting in the solution, lived the show to its real end and took away, one would hope, some honour, courage and disdain for revenge.

Such theatres were banned, hidden, closed, then reappeared.
Because romantic love, passion, shown faithfully and frankly, always wins in front of cardboard knives and plastic clubs.

For the Endless Death Show, the weapons were brought from museums and sharpened by the masters of the fifth generation.

But all this has passed.

Not much has been written about it. People (men, mostly) didn’t want to speak, think or write about clones.

A single convenient argument was always used - imperfection of their souls.

Women were never included in the polemics, for a sin with a clone wasn’t actually a sin and after the explosion of clone-dating, a husband just became a talking zucchini…

Some things remain unclear: their unwillingness to tell jokes, dislike of geometry, prostration in front of any animal, crying at the sight of a river, endless catarrh.

But most likeable, what moved idiots and children, was when fifteen or more clones placed their arms on each other’s shoulders and danced in a ring for a short while before peacefully falling asleep, their skin colour changing to silver.

To look at their sleeping faces is forbidden, for he who does will see them always in his dreams till the end of his (their) days.

Text: Anton Adasinsky
English text editor: David Kemp
Photo: Elena Yarovaya

DEREVO played Ketzal in Dresden
Although “playing” or “dancing” doesn’t really suite Ketzal
I rather should say “Ketzal happened” or “Ketzal has been here”

I always realised that that Ketzal game is a festival of men
So after two months of rehearsals it happened

The best cast!

Anton Adasinsky
Anna Budanova
Makhina Dzhuraeva
Pavel Alekhin
Ivan Nevzorov
Stepan Lyubimov
Ivan Volkov
Alexey Popov

Light: Elena Yarovaya, Igor Fomin
Music & Sound of course by Daniel Williams
All round helper: Liza Polyanskaya

Thank you!

Do not miss ISLANDS at ERARTA in St Petersburg!

Text: Anton Adasinsky
Photo: Peter R. Fiebig, Elena Yarovaya, Liza Polyanskaya

In the days of rehearsing the AEROKRAFT project based on the music of Nikolay Gusev
I think about war.
I wrote text for eight scenes of the show.
I want the audience to hear the voice and listen to the words
Reading again, I decided that even without the performance these texts are of interest.
Anton Adasinsky

1
I love you, War
How much courage and light are in you
How precisely you cross those t’s and dot those i’s
How doubtlessly it can be decided who is bad and who is good
How clearly you draw the borders and decide on the destinies of countries
How many feelings and cries you give birth to in our hearts
How carefully you help women wait for men
How many hopes for a bright future are born with each shot and each explosion
How many heroes you give to the people
I am ready to go with you to the end of the war

2
I hate you, War
You’re the main thing people remember
You’re the starting point
What was before and after means nothing
You are the main thing
I hate you because you’re sitting in my head with your names and dates
With newspapers, wounds and beggars
I will not live my life happily because you will come to my door and make me suffer
I have one life, and still in this life there will be at least one war
I hate you, War, and wait for you to die

3
God, how cunning you are, War
I’ll never understand what you want
How many people you need to take
How many words you will say in your defense, how natural and glib they will sound
For each death, thousands of letters and arguments for each drop of blood, pages of gabble and lies from the leaders
You’re experienced, War
You’ll outlive us all, you’ll take a different name and start over again.
You’re sly and pratlling, War
You’re lying on your side and drinking a liqueur while others tell lies and make the decisions
And far away in the fields, boys in baggy uniforms play tag with your friend Death

4
I thank you, War
You helped me solve my problems
You persuaded me to make a choice and change my way
You took away my miseries and dried my tears
I will not have to suffer pain or aging
I am grateful to you, War
You took away my life

5
I’m the same as you, War
I’m full of hate and doubt
I need to shake the muscle and arms
I need to justify my lies and violence
I need to be cunning and diplomatic
I too get tired and want rest and silence
and I too am uncapable of just sitting and doing nothing
I too feed myself with blood and rumours
and I too forget why I fight

6
I am your father, War
You are my child, War
I’m a man, I gave you life and I named you, War
I, human
I, the one who is at war
I, the one who kills or spares
And chooses commanders and soldiers
I choose the target and the task
You’re nobody without people, War
We are at war, we the people, and you are just letters in our mouths
I am your father, War and like all fathers I want you to be the best
Grow big, War
I will lean upon your shoulder when I’m old

7
I can not live without you, War
Forgive me, War
If I do not praise your beauty and stature
Oh, how cool and arrogant you are
How forbidding and desirable
Your romance is in our songs and books
The only thing that remains
Where Death is majestic and just
Where Good always wins over Evil
But at some time, of course,
Evil will return
And swords must not rust
And I want to be the best to get into your ranks, War
Forgive me for not praising you every day, War
For only you will bring me away from boredom and malaise
You will give me direction and purpose
And you will make me believe that killing is possible
Finally! This is what we need you for, War
For a man to fulfil his dream, to kill another

8
What words I must find to make you understand how grateful we are, War!
You gave us the work of War!
We sew on buttons and cast bullets
We draw maps and brew spirits for your soldiers
We paint everything khaki and print bulletins
Aeroplanes and tanks
Cameras and boots
Condoms and sights
Vests and briefs, for summer, autumn, nighttime and underwater
Much, much work
We are millions grateful for the possibility to bring home some money and bread
Thank you! Our children will not starve
You give us all something to do
Please do not end, War
Or we’ll be unemployed
What will be left to write and talk about when you’re not there, War?
What else shall we put in our prayers, hymns and plays?

Everything is meaningless without you, War

9
I forget about you, War
I can’t remember, if it was true
If it was near death.
I see different things
How clouds fly by, how life’s rolling past
How children grow, who will never see a war
We were friends, War, but you were the last
You were old, War, living in memories of great battles
You’ve got no skill to fight like a coward
With lies, gold and oil.

You’re decrepit, war
I walked with you, Old Lady War
I wanted to trip you up and watch you dying
I wanted to commit the last murder in the world
To kill you, War

10
I thank you, War
You helped me solve my problems
You persuaded me to make a choice and change my way
You took away my miseries and dried my tears
I will not have to suffer pain or aging
I am grateful to you, War
You took away my life

11
You’re untidy, War
You’re not cleaning up after yourself, War
There is always garbage and leftovers
Dirty memories in the mind
Tattered photos
Destroyed buildings and old bombs
You’re not cleaning up after yourself, War, still in our heads
Shouts and farewells
Letters and smoke
You want us to remember everything
You leave your marks everywhere
Sweep the streets and the cities after you
Wash the rivers
Burn the bones and flood the cemeteries
Give the cripples back their arms and legs
Put their eyes back in their sockets
Make us, force us to forget you
You’re a magician, War
So make anyone who speaks your name, War
Cover his face with the palm of his hand and walk thus till his death

12*
Where’s the power
That will cleanse the Earth
Of all the filth,
The cowardice and lies
Theft and murder
Cities and countries.
Where are you, power?
Be swift, time is short
For we are clever and cruel
And the world is cramped…
Wipe out all the people
No time to swift the good from the bad
Let it again be quiet and clean,
As it was in the beginning…
Maybe next time….

* From the film «Süd. Grenze» (DEREVO, 2001)

Text: Anton Adasinsky
English text editor: David Kemp
Photo: Chester Mueller, Roman Dubinnikov, Elena Yarovaya, Carola Fritzsche

Hello all,

in October 2014 you can see & listen to Anton Adasinsky on many occasions in St Petersburg:

• autumn school at the New Stage of Alexandrinsky Theater, 7-10 Oct.
• on-line on BalconyTV with the Positive Band, 7 Oct.
• at the talk & film evening at the Angleterre Cinema, 11 Oct
• at the special event for the Mikhail Chemiakin Foundation, 13 Oct.

In the meantime you can watch the documentary (in Russian) “With a rainbow in the heart” by Galina Korshikova. Unique archive footage by Andrey Gladkikh has been used for this film.

Here you’ll find some pictures of our summer projects

• White Fortress, finally I’ve got the main part since Pavel Semchenko of AKHE was busy elsewhere
• Pioneers Parade at Radebeul, it’s all about having fun
• Midnight Balance at Radebeul
• Finale Grande at Radebeul, ten thousands wood pieces and five thousand spectators

Text: Anton Adasinsky
Photo: Elena Yarovaya, Silvio Dittrich, Anton Adasinsky, Igor Fomin, A. Rummler

Dear Anya! 

10 years you’re working as our manager

10 years of performances, DEREVO travelling around the world
And projects, and festivals, and the School, and “Russian Seasons”, and “Vertical”…
10 years marching on the same road
and only at 19.30pm for 2 hours do our roads part
DEREVO goes on stage, and Anya goes into the auditorium…
Thankyou !!!

Anton Adasinsky and all of us !!




”Usually, things coming to me from others are temporary. Only this, a ship thrown up on the shore, stays forever true.
Standing in the dark auditorium, on the other side, I understand, the path that went before. I understand, everything is possible, if there is availability.
I used to watch from behind, and now I’m flying alongside.
Leaving a trace in the eyes, and deeper - in the hearts, and to again turn and walk away.
Making a sign of love to another = my way”.



Anna Bogodist, Aug. 2014


”… and there was “Suicide in Progress” (St Petersburg’s dirty lampposts, Adasinsky in black, diving into red) or “La Divina Commedia”. And something moved, trembled, became happy and stood still. You learned something for the first time and understood who you really are. You laughed and wanted to hear them in every sense. And it was incredibly near and far, they were here, in the middle of the field, in the night and wind. Not prepared for the myth, swirling, love, hangover, history, fairytale, winter, hell, sin, and the eyes… Then their “spasibo” in Russian, a huge hourglass, sequins, just found in your pocket, hurried steps, the audience’s reaction noted with pride, a quick taxi and call to Katya: “They’re the best.” And you can’t sleep, and you say thankyou.”



Anna Bogodist, Edinburgh, Aug 2002

Text: Anton Adasinsky / Anna Bogodist
English text editor: David Kemp
Photos: Anton Adasinsky & DEREVO

Idea & realisation: Anton Adasinsky & DEREVO
Music: Daniel Williams
Production manager: Isolde Matkey

A Bull engages the same force to see and know an Eagle, as an Eagle does for a Bull”
Alejandro Jodorowsky, ‘The Holy Mountain’

“- How could you lie to a child?
- I can’t wait till she’s grown up”
Barmaley, ‘Aybolit-66′

Good and knowledgeable people leave.
Now Elena Markova has gone.
Her articles in Russian can be found here: http://ptj.spb.ru/author/markova/
How many of you had a chance to meet her in person? Only a few I suppose.

And listening to her, it was the golden hours of our profession. Each time her analysis of DEREVO’s work pushed us to the next level. Conversations and interviews with her helped me to find the idea of an “emotional statuary”. And we too, at DEREVO, called it a “screaming obelisk” or a “crying stone”. And this attempt to break out of the dusty orbit of le mime statuaire was successful. We have become very strong in the stillness…

In person, it’s different when you work or talk to someone.

Three days of working with Grotowski personally gave more to us – DEREVO – than all his books and videos.
In just four hours, Jodorowsky blew my mind further than with his ‘Santa Sangre’.
That’s the reason I want you to meet each other and meet the Knowledge bearers, in person… In short, I’ll work as the procurer…

There’s a workshop in October in St Petersburg. That’s the chance »»

In August we’ll have another beauty in the old centre of Dresden – White Fortress II. Blind Rain.

In September a big improvisation at the wine festival in Radebeul near Dresden; the wine festival!!.

Independently and in parallel, Lena Imamova and Kolya Zapolskikh are working on a book of my short stories, ‘Back to the Sun’. And Makhina Dzhuraeva and Pavel Alekhin are busy in the museum and libraries of Mikhail Chemiakin at his mansion in France, growing cleverer every day under Mikhail’s eagle eye.

And I’m tormenting myself in Spain with the screenplay of the film ‘DOPPIO’.

Let’s know each other!

Anton

Text: Anton Adasinsky
English text editor: David Kemp
Photo: Elena Yarovaya, Elena Imamova, D. Pandurski

Text: Anton Adasinsky
English text editor: David Kemp
Photo: Judit Horvath, Igor Anosov, Sylvio Dittrich, Janos Posztos

Nikolay Gusev
is eternal
is strong
is clever
Nikolay Gusev is a musician.

I saw him puzzled just once, on April the 8th,
When I told him that the dancers rehearse night & day.
They know the duration of each track (4 min 26 sec, for example)
And the tempo (metronome at 120 or 86)
But no one listened to the songs. I forbade them.

“They know you, Kolya, they know the AVIA and they trust me. They will hear your music for the first time during the show.”
And so they did, and performed wonderfully!
My experiment was a success.
Danke,
Anton

Text: Anton Adasinsky
English text editor: David Kemp
Photos: Igor Anosov, Elena Yarovaya

Text: Anton Adassinsky
Foto: Elena Yarovaya

I was quite full of wonder after my brief visit to Moscow to the Lumiere Gallery.

I hadn’t expected that so many people were still able to walk slowly and speak gently, to look into your eyes and even to listen to you without meddling with their iphones right in front of your face. I’m speaking of the visitors to the exhibition and to my gig there.

The exhibition Time of the Bells is a VERY GOOD one. Thank you to Nastya and all other organisers behind the scenes.

Meanwhile the DEREVO studio in Dresden has been turned into a filming location. A motion picture in progress is:

The Middle of White (working title)

Idea: Pavel Semchenko (AKHE)
Director: Pavel Semchenko
Cast: Anton Adasinsky (DEREVO)
Cameraman: Andrey Gladkikh
Assistant: Natalia Krymskaya
Producer: Pavel Semchenko

Big thanks to Elena Yarovaya and Isolde Matkey for their support with the boring administrative tasks.

We will tell nothing yet about the music. That will be a surprise.
Anton

(english text editor: Daniel Williams)

Also the heavy metal performance by DEREVO is nearing:

29 – 31 March 2013 in Festspielhaus Hellerau, Dresden

The golden classic by DEREVO to be presented by the original cast & crew.

On stage:
Oleg Zhukovsky
Elena Yarovaya
Tatyana Khabarova
Anton Adasinsky

Sound: Dmitry Abramov
Light: Falk Dittrich

Anton Adasinsky performs his song Cat on Accordion from the Album DOPPIO live at Lumiere Centre in Moscow, 9th of March 2013. On stage are Alexandra, Veronika, Anton & Nikolay

Download the album DOPPIO here »

We are now rehearsing the show named 5th Sun…

Yes, we do know about all the hype. As about Maya Codex, as their calendar, as about everybody’s endeavours to disappear altogether.

Though we don’t want to disappear. After all we don’t speak Spanish and we’ve got mixed up with all those gods and faithes long ago.

But what’s just came to my mind…

Some bad guy, probably from the South, wouldn’t allow a kid to see the outer world from a birth until the age of fifteen. Just to see the lad’s reaction to the Sun and a sunset. And so the Big Moment comes, the sun comes down and the boy says; „Don’t worry, it will come back again!“.

Well, that is what we’re working on now joyfully.

Here are some images of the work in progress.

Design and ideas: Pavel Semchennko (AKHE), Anton Adasinsky and Elena Yarovaya (DEREVO).

Text: Anton Adasinsky
Photos: Natalya Krymskaya