Vsevolod Lisovsky: The Mastermind Behind Moscow’s Transformator.doc
Vsevolod Lisovsky: The Mastermind Behind Moscow’s Transformator.doc
Moscow has recently seen the emergence of a groundbreaking art space known as Transformator.doc, an experimental platform for the esteemed “Teatr.doc,” which is celebrating its 15th anniversary. The creative force behind this innovative space is Vsevolod Lisovsky, a prominent figure in the independent Russian theater scene and an experimental director renowned for his productions such as “89–93 (Squats)”, “Implicit Impacts”, “Silence on a Given Topic”, and “Silence of the Classics”. Lisovsky shares his vision for Transformator.doc and his reflections on theater and the role of women.
The Genesis of Transformator.doc
The concept for Transformator.doc was born spontaneously. Dmitry Denin, the generous owner of the Elektrozawod space, offered Lisovsky the chance to create something extraordinary. At the time, Lisovsky had already felt the need for a platform dedicated to experimentation. With the moral support of Elena Gremina and Mikhail Ugarov, the founders of the independent documentary theater “Teatr.doc,” Lisovsky embarked on this new venture.
Lisovsky was particularly interested in creating a public space rather than a traditional theater. He believes that the concept of “theater as theater” is either outdated or not fully developed. Transformator.doc is open to almost anyone who wishes to present a performance, provided they are mentally sound and capable of engaging in dialogue. The space explicitly prohibits the propagation of ultra-right and misanthropic ideologies.
An Inclusive and Experimental Hub
Transformator.doc is not just a venue for performances; it functions as an art hub where various activities take place. The space is designed to be flexible and improvisational, allowing people to pursue their creative endeavors without interference. Lisovsky describes it as a “zoo without cages,” emphasizing the importance of establishing the right rules for this experimental environment. He even contemplates the possibility of Transformator.doc not being tied to a specific location, highlighting its spontaneous and unconventional nature.
The Laboratory of Death
One of the unique aspects of Transformator.doc is the “Laboratory of Death.” Lisovsky explains that the distinction between the living and the dead lies in the perspective of death. To determine the vitality of theater, one must identify its zones of death. If these zones are not found, it suggests that the theater is an inanimate object, devoid of life. The search for death is not a suicidal process but a vital one, filled with intrigue and discovery.
Lisovsky sees death as a factor that defines the scale of existence. Without the concept of death, life events lose their hierarchy and significance. This philosophical approach underscores the importance of exploring the boundaries of life and death within the context of theater.
Lisovsky’s Journey into Theater
Lisovsky’s entry into the world of theater remains a mystery even to himself. Initially, his ambitions were tied to cinema, but he found theater to be a more accessible medium for expressing his interests without interference. Despite his involvement in theater, Lisovsky admits to a deep-seated fear of attending performances due to the energetic exchange between actors and audiences. This fear stems from the responsibility and potential emotional exploitation that comes with being a spectator.
Reflections on Theater and Society
Lisovsky is critical of unreflective theatrical activities but appreciates traditional theater that is self-aware and follows established rules. He rejects hackwork and opportunism, emphasizing the importance of genuine artistic expression. While some may view Transformator.doc as a trendy, loft-style space with nihilistic undertones, Lisovsky argues that it is not about conforming to existing trends but about carving out a unique niche.
Current and Future Projects
In addition to his work at Transformator.doc, Lisovsky plans to produce three performances over the next six months. He has been invited to the Kazan theater “Ugol” to direct a play based on a mathematical formula, a project that is still in its conceptual stages. Recently, he directed “The Bacchae,” a play exploring female aggression and the social constructs surrounding women. Lisovsky’s fascination with the evolution of societal roles and the transition from matriarchal to patriarchal systems is evident in his work.
Vsevolod Lisovsky’s vision and innovative approach to theater continue to push the boundaries of traditional performance art, making Transformator.doc a unique and dynamic space for artistic exploration.
