Zbarskiy Lev

Zbarskiy Lev

By mutual agreement, we booked a daring (for that time) provisional plan for a show. Once, in a museum in Perm, I saw an exhibit of wooden folk sculptures depicting Christ. From different woods, Christ was imagined individually. Each was, to some degree or another, Christ the peasant, but simultaneously a tragic figure. Asymmetrical body and face. Eyes – the same. Elongated nose; a tragic neck, bent like a martyr’s. In our design, a statue of an Italian saint was done in the spirit of that wooden folk sculpture.
 
It was a very unusual saint. A bench, a ladder, and a garden on the backdrop – everything was unusual but precise, real but imagined – all at the same time. The representatives from the technical department looked at our model sarcastically. We tried to put on faces of absolute independence…
 
As we should have expected, an uproar started brewing before our show’s opening. It was forbidden to hang such an “abstract” backdrop on the stage of the “associate" MXAT. We were asked to remove the backdrop. The set’s character didn’t change – it just became worse. It seems to me that today, a similar proposal wouldn’t raise an objection from anyone. But in these years, we’ve traveled down a long road with regard to the widening of our artistic comprehension. Back then, for example, the combination of a psychological game and conventional design was considered inadmissible. To some critics, it seemed that we didn’t think things all the way through or made a mistake, but what we so badly wanted to convey didn’t even occur to them. 

Echo

Zavadsky Yuri
Zbruev Aleksandr
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