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Daniil Kharms, an early Soviet-era surrealist and absurdist poet, writer and dramatist, was a post-modern artist before the term had any cultural currency. Kharms exploded the conception of theatre as a literary representative, defining the rules of theatre not as dramatic but scenic. By the late 1920s, his anti-rational verse, nonlinear theatrical performances, and public displays of iniquitous and irrational behavior earned Kharms - who always dressed like an English dandy with a calabash pipe - the reputation of being a talented but highly eccentric "fool" or "crazy-man" in Leningrad cultural circles. Exiled briefly during the “relatively vegetarian” days of the early 1930s, ten years later he was imprisoned in the psychiatric ward of Leningrad Prison No. 1. Kharms died in his cell – most likely from starvation – in February, 1942 as the Nazi blockade of Leningrad was well underway. His writings (a vast assortment of stories, miniatures, plays, poems, and pseudo-scientific/
ARTEL has found a kinship in the writings, theories and spirit of OBERIU (Union of Real Art), the avant-garde collective founded by Kharms, that adds a legacy and language to the ways in which the ensemble laboratory has been training performers and devising theatre since its inception. Kharmful Charms of Daniil Kharms is therefore presented as homage to OBERIU whose aesthetic centered on a belief in the autonomy of art from the real world's rules and logic as well as the intrinsic meaning to be found in objects and words outside of their practical function.
By ‘Real Art’, OBERIU intended the creation of an artistic language that refused symbolism and subtext as a means to present realism. The Oberiuty rejected literary drama, in which all the elements are subordinate to the dramatic plot, that is the play as ‘a tale told by people about something that happened’, and in which everything is done on the stage in order ‘to explain the meaning and the course of the events more clearly, more comprehensibly, and in a more life-like way’. ‘Theatre’, said the Oberiuty, ‘has nothing to do with that.’
OBERIU embraced a creativity that demanded “the transformation of the forms of private life into a fact of art”. The promotion of an aesthetic and ethos that blurs life and art has been a main line of research for ARTEL, and coupled with the notion of ‘scenic plot’ was a central dramaturgy for the Bulgakov variations over the last three years.
Derided as literary hooligans in the increasingly hostile atmosphere of 1930s Stalinism, OBERIU survived as a collective for only a few short years, but are considered “the last of the Soviet avant-garde”.
As the cultural weather continues to fluctuate in our own tumultuous times, Kharmful Charms of Daniil Kharms disrupts the experience of daily entertainment routines, challenges the central questions around the role of art, the responsibility of artists, and the creative capacity of all living citizens, and ultimately aims to provoke an incident of love.
You want to find the laws of normality and logic which you think you see in life. But you will not find them here. Why? Because an object and a phenomenon transferred from life onto the stage are no more dependent on the laws of ‘life’ and acquire laws of another kind, those of the theatre. We are not going to explain what they are. To understand the laws of a theatrical presentation you have to see it.
- OBERIU, 1928
After a riotous oversold presentation of the workshop production last spring, ARTEL is hard at work to re-invent and re-create their production of “Kharmful Charms of Daniil Kharms”. Continuing to explode the thread of illogically decadent comedy formulated from Russian Surrealist and Absurdist motifs, ARTEL will be constructing an evening of not-so-innocent commotions and antics, vignettes and dreamlike incidents set to a rousing live musical score.
Opening night FRACAS is February 19th!
Our friends and collaborators of Teatr Zar are spending two weeks in Los Angeles conducting performances, specially arranged workshops and occasional concerts. "Gospels of Childhood. Triptych" opened last night at UCLA Live to a completely sold out run. Zar's work is for the intimate spaces, and that is a blessing. Royce Hall, a large venue, is transformed into a small sanctified space for closer transmission of song and action from performers to the audience. This proximity is paramount. Still nothing can compare to seeing their work at Apocalypsis room of Grotowski Institute in Wroclaw, where darkness of the room resembles that of the black hole, and the acoustics those of the ancient caverns. Tuning into their performances in London, Chicago or Los Angeles requires perhaps a greater amount of work on behalf of the audience to tune out brightly lit "exit" signs, the dust of the big city, the head noise of the daily grind. Here are a few eloquent accounts of encountering Teatr Zar by American colleagues who witnessed their performances in Poland last summer: A Search for the Oldest Songs in the World by Jim O'Quinn, and Applauding in Poland by Guy Zimmerman. If one is attracted to this kind of theatre, making a pilgrimage to Wroclaw can be life altering. It certainly was for every ARTEL member who went.
WHAT: After a sold-out workshop production last April, ARTEL returns with Kharmful Charms of Dani Kharms - A World Premiere: collaborative ensemble-devised project based on the works of Russian absurdist Daniil Kharms (1905-1942). Creation/training process will explore the styles of Eastern European clowning (Slava Polunin), vaudeville, cabaret, burlesque, commedia dell'arte, viewpoints, Polish/Russian theatre practices (Grotowski, Meyerhold, Vakhtangov), and devising techniques.
AUDITION: The audition will be 1.5 hours long or so, with a group of people auditioning together (up to 12 people). It will involve physical, vocal and movement-led exercises, ensemble work, devising session and a presentation of prepared material. Very fun, high energy event. At the very least you will get an awesome workout. In the prepared material category I am asking for a short theatre/performance piece up to 3 min long. Preferably comedic. Original piece is a plus, but not required. The more unnaturalistic and expressive it is - the better. This can be done with any material, classical or not.
