DARK DAYS. PART ONE. DEDICATION
About the project
The first part of the unfinished trilogy about the Time of Troubles
Site-specific performance and audiovisual installation
KLIM’s play "Dark Days" explores the so-called “Time of Troubles” period in Russian history. Our work on the play began in 2019, when Fulcro actors were still students. Over the next three years, the project evolved into a cross-genre endeavor with multiple segments
In the first part, a group of contemporary interdisciplinary artists and actors experiment with space, the body and various theatrical (and other) techniques.
Initially, the actors immersed themselves in the training led by Andron Vipulis, rooted in the "zero ritual" of KLIM. Subsequently, this approach was amalgamated with other practices, including visual, plastic, and musical elements.
The contemporary dramaturgical text presented to the audience in this performance serves as an ironic essay on the theme of "mathematics and generational curses." It is crafted from the recollections, reflections, and associations of team members, along with a series of lectures on set algebra. Here, set algebra functions as a tool, a "master key," aiding in the comprehension of the construction of gender and relationships in society.
The text constitutes one of the rhythmic elements in the performance. Similar to sound and light, it engages with the space and the performers, creating an interplay where the performers also interact amongst themselves. The outcome is a site-specific performance/installation/reflection on kin, roots, connections, and community.
Site-specific performance and audiovisual installation
KLIM’s play "Dark Days" explores the so-called “Time of Troubles” period in Russian history. Our work on the play began in 2019, when Fulcro actors were still students. Over the next three years, the project evolved into a cross-genre endeavor with multiple segments
In the first part, a group of contemporary interdisciplinary artists and actors experiment with space, the body and various theatrical (and other) techniques.
Initially, the actors immersed themselves in the training led by Andron Vipulis, rooted in the "zero ritual" of KLIM. Subsequently, this approach was amalgamated with other practices, including visual, plastic, and musical elements.
The contemporary dramaturgical text presented to the audience in this performance serves as an ironic essay on the theme of "mathematics and generational curses." It is crafted from the recollections, reflections, and associations of team members, along with a series of lectures on set algebra. Here, set algebra functions as a tool, a "master key," aiding in the comprehension of the construction of gender and relationships in society.
The text constitutes one of the rhythmic elements in the performance. Similar to sound and light, it engages with the space and the performers, creating an interplay where the performers also interact amongst themselves. The outcome is a site-specific performance/installation/reflection on kin, roots, connections, and community.
