Controversial Director Evgeny Korniag: Scriptless Plays, Conservative Audiences, and Nudity on Stage

Evgeny Korniag: Pushing Boundaries in Belarusian Theater

Director Evgeny Korniag is known for tackling uncomfortable themes and choosing unconventional heroes. While some critics harshly criticize him, others hail him as the “hope of Belarusian theater.” Korniag shares insights into his rehearsal process, the essence of physical theater, and the nature of provocation on stage.

Beton: A Visual Poetry of Loneliness

Korniag describes “Beton” as “visual poetry,” where audiences read the actors’ bodies like verses. Although poetry might not be the perfect genre definition, he found no better alternative. The play explores the theme of loneliness, symbolized by a concrete wall. This imagery emerged during discussions with set designer Tatiana Nersisyan, a laureate of the National Theater Prize of Belarus who collaborated with Korniag on several productions.

The decision to use a concrete wall and name the play “Beton” came after much deliberation. Korniag sought various ways to visualize loneliness before realizing that concrete, with its cold and gray “boxes,” perfectly encapsulated the feeling of isolation.

For six months, Korniag and his actors worked without a script, focusing solely on the themes of concrete, walls, and loneliness. Through improvisation and exploration, they developed small sketches that gradually formed the basis of the play. Korniag saw a strong connection between these sketches and the myth of Orpheus and Eurydice, interpreting the ancient story through a modern lens.

The Dilemma of Audience Understanding

Korniag faced a dilemma: how much should an audience understand, and is complete comprehension necessary? This question balances creative freedom with audience attendance. Belarusian audiences tend to be conservative and often reject what they don’t understand.

Some audience members prefer to build their own interpretations without guidance, while others need clear “hooks” to follow the narrative. Without these, they may feel lost or even aggressive. In “Beton,” Korniag included subtle guides but aimed for a balance—those who need direction can use it, while others can ignore it. He hopes audiences familiarize themselves with the myth of Orpheus and Eurydice before watching the play.

What Does Korniag Want?

Korniag often doesn’t know the final outcome of his work. During rehearsals, he gives actors tasks and selects what resonates most. For example, during a dance rehearsal, he might only like one movement, which then evolves into an entirely different dance.

His rehearsals are a continuous search for freedom and creativity. He encourages actors to contribute ideas, which he then refines or redirects. Korniag is not interested in precise choreography or micromanaging the process. He sees actors as co-creators who significantly influence the final production. While he maintains final authority, collaboration is key.

Female and Male Images in Theater

Korniag often hears accusations that he intentionally glorifies women, promotes feminism, and diminishes male characters. However, he does not select his heroes based on gender and has moved away from gender-related themes. He believes a hero can be anyone, regardless of gender or sexual orientation.

Moreover, a hero doesn’t need to be strong or save the world. Korniag is interested in portraying real, imperfect people and their stories. His goal is not to prove who is better or worse but to show life as it is.

The “Most Scandalous Director”

Korniag has been labeled the “most scandalous director” since the premiere of “Cafe ‘Absorption.'” However, he never seeks controversy. He aims to create what he loves and what hasn’t been done before, striving for honesty with himself, his actors, and his audience.

His plays often include provocative elements, but he sees this as necessary. Why should everything be beautiful, smooth, and predictable? Why is anyone who steps outside the “norm” or tackles uncomfortable themes labeled scandalous?

Korniag-Theater: A Synthesis of Arts

Korniag-Theater is an author’s theater where Korniag writes and presents his own stories. He aims to engage multiple senses, using theater as a synthesis of arts. From the beginning, he has been fascinated by plasticity and the body, which he sees as the primary means of expression. Thus, Korniag-Theater is both an author’s and physical theater, where movement—not words—drives the narrative.

Physical theater encourages audiences to think but does not dictate what to think. Each viewer sees what resonates with them personally.

All My Plays Are in My Head

Korniag records only ideas and images, never detailed descriptions. His final vision emerges during the creative process, and he constantly transforms and reorders elements. His notes are often brief, occupying just a page or half a page.

The Nude Body in Theater

The topic of the body, especially nudity, remains controversial in post-Soviet spaces, often sparking aggression. Many view nudity on stage as vulgar and inappropriate. Korniag, however, does not see nudity as a forbidden technique. If it serves the play’s theme, why not use it? The body is a natural part of human existence, and he believes society should stop viewing it as immoral.

Korniag is comfortable with nudity and does not see the body as a sexual object on stage. For him, it is a means of expression, akin to speech, and not inherently vulgar. He argues that society will only stop seeing the nude body as problematic when people learn to accept it as a natural part of life rather than a sin.

Don’t Rush to Judgments

Korniag once considered leaving a performance of “Chicken For Money, Nothing For Freedom” in Bonn. He was so disturbed by what he saw that he nearly walked out after twenty minutes. However, he stayed and ultimately appreciated the production.

For more insights into Belarusian theater, you can read an interview with actress Tatsiana Marhel, who discusses the importance of Belarusian culture and heritage.