The world-famous "grandmother of performance" Marina Abramovich still does not leave art and continues to create. The next step in her creative development was the play "The Life and Death of Marina Abramovich", where, in addition to the facts of the author's biography, the scene of the funeral of the artist-performance artist is planned.
The performance opera was directed by Robert Wilson, an American theater and opera director known as one of the foremost representatives of the theatrical avant-garde of our time. In addition to the artist herself, well-known American actor Willem Dafoe takes part in the production, acting as the voice of reason of the main character.
"The Life and Death of Marina Abramovich" is not an ordinary performance, but something that goes beyond the limits of logical perception: all actions in the production pass through a kaleidoscope of eccentric scenes-illustrations. But, despite all his phantasmagoricity, the heroes, periodically addressing the audience directly, remind that everything that happens is real. It is precisely this close contact with the audience that the director sought, observing the genre laws of performance in the production: the actors' faces are painted over with an even white color, and the eyes are highlighted in black to emphasize their facial expressions. There are almost no props on the stage, which increases the attention to the action. The unusual behavior of the actors hints at important details in everything that happens.
Abramovich decided to end the story of her life with a logical outcome - death. For Marina herself, her "funeral" is just a creative experiment, one of the strongest artistic means. According to her, "a biography is a material, a performance is a poetic work of a biographical theater."
At one time Marina Abramovich said: "To be a performance artist, you must hate theater. Theater is fake: the knife is unreal, the blood is not real, the emotions are implausible. In a performance, everything is just the opposite - the knife, blood, and emotions are real." That is why, moving from the sphere of performance to the theatrical environment so hated by her, the artist tries to make what is happening on the stage more alive, without being afraid to reveal to the public all her innermost desires, experiences and passions.
This production is atypical for Abramovich, since in her earlier performances she often used naked flesh and blood, torturing her body in front of an amazed audience in order to emphasize the genuineness of her thoughts and impulses. That is why, despite the fact that Life and the death of Marina Abramovich "is staged on the stages of theaters around the world, Abramovich herself claims that this is" after all a performance, not a theatrical performance."
This autobiographical production is set for Toronto residents at the Luminato Festival in June 2013.
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