04 January 2008

NOCTURNE project


„НОКТЮРНО – от прахта до сиянието”
Авторски мултижанров пърформънс на Сдружение за съвременно алтернативно изкуство и култура „По действителен случай”

Номинации и награди
-         Награда „ИКАР 2011” за авторска музика на живо за Мария Илчева (контрабас) и Александър Деянов (Skiller) (бийтбокс)
-         Номинация за ярки постижения в областта на театъра на годишните награди на Столична Община за принос в културата по случай 17 септември 2011 – ден на София

За проекта 
От прахта до сиянието е разстоянието от живот без любов до живот над любов.
Изследването на процес винаги е по- трудно, от колкото изследването на резултатите от него. Този процес е историята, която искаме да разкажем. Да проследим пътя от прахта на баналното ежедневие, през суровата мощност на помитащите всичко политика и икономика, до сиянието излъчвано от единението на двама души. Връзката им, която трябва да преодолява сама себе си всеки ден. Как тази връзка трябва да се развива и изкачва постоянно на нови нива, иначе загубва себе си. Как всеки преход на ново ниво е ужасно тежък.
Проектът е представен от двама актьори и двама музиканти.

Анонс
Театрален проект за съединението между двама души. Какво става, когато искаме да спечелим нещо повече от любовта? Ако се блъснем един в друг, ще ни съдят ли? Как да разберем, света на дериватите? Кое да продадем, за да оцелеем? „Ноктюрно” задава тези въпроси в достъпно нетрадиционен, музикално динамичен вид.

Екип
Ирина Дочева Голева (режисьор и актриса), Огнян Голев (актьор), Александър Деянов (Skiller) (бийтбокс), Мария Илчева (контрабас), Ивайло Димитров (хореограф), Тони Кондев (сценограф), Светозар Георгиев, Ирина Голева и Огнян Голев (текст), Силвия Павлова (костюми), Светлозара Христова (арт мениджър)

Времетраене 75 мин.


“NOCTURNE – from dust to brilliance” 
a multi-genre performance of "Based on actual events" organisation

Awards
- the prestigious Bulgarian theatre award "Ikar 2011" for best music for Maria Ilcheva (double-bass) and Alexander Deyanov (Skiller) (beatbox)

About the project
From dust to brilliance is the distance between life without love and love above love.
The examination of a process is always more complicated than the study of its results. This process is the story we want to tell. Revealing the way from the dust of the ordinary everyday life, throughout the raw power of economics and politics, to the radiance glowing from the two individuals’ unity. It’s about their connection that has to overcome itself every day. It’s about the development of this unity and the need of constant coming up to new levels in order to be alive. It’s about the terrifying difficulty of the transition to new existence levels.
The project is performed by one actor, one actress and two musicians – a beatboxer and a double-bass player. The texts are specially made for the two performers. 

More about the project 
Theatre project about the linkage between two persons. What happens when we want to win something more than love? If we crush into one another, will they sue us? How to understand the world of derivatives? What to sell to survive? "Nocturne" asks these questions in open non-traditional, dynamic musical form.

...
I hate it being left alone with my brain at night. I set my eyes into blinking mode with a fading frequency until they close completely and then it all explodes from within. Fireworks of tears. Bang! Bang! Bang! And the break out high above and illuminate it all. It’s awesome but all tuning goes to hell, they have to teach me again how to eat with a spoon and how not to pee in my own pants. Yes, the maintenance of a brain is a tough job.(From the performance)

About the team
Actress and directorIrina Docheva, actor and coordinatorOgnian Golev, beat boxAlexander Deyanov (Skiller), double bassMaria Ilcheva, choreographyIvaylo Dimitrov, stage designToni Kondev, costume designSilvia Pavlova, marketing designIvelina Ancheva, textghostdog, Irina and Ognian

CRITICS
“How does litter box and ticking the computer sound in Nocturne? How does macroeconomics and training of English pronunciation fit explanation of love? And how do midnight reflections on the structure of the human brain and the whole existence sound in the entertainment of the musical presentation? It seems impossible. But it’s not. In the performance of "Based on actual events” Organization they combine seamlessly to provoke its audience not to answer the question "But how is this possible?", but become aware of another question: "How does everyone combine them in his/her own actual events?"
Put in a little big perspective, this question is "how the social world is reflected in subtle emotional fabric of the man today?" And in a more theatrical perspective, it sounds like "How does Theatre respond to changes in the modern lifestyle of one living in Bulgaria man?" Well, this performance more than adequately respond - respond actively. New media and fragmentation of information, opportunities for profit, the reactions of the body used by the industry of beauty, the feeling of each part, in short - the new range of reality is included in the creation of theatre, is recast in the language of this performance. There is poetry, irony, music, movement.”
(Across a newspaper article "Culture" - Number 38, November 5, 2010)

“True to its name (“Based on actual events”) authors of “Nocturne …” (Text – Svetozar Georgiev, Irina Docheva and Ognian Golev) lead the audience in a very intimate journey, in which the very personal histories of the two main performers (Irina Docheva and Ognian Golev) are displayed in a particularly special way. In this case, more importantly not so that both have been a real couple in life, but that both are gifted with that very rare talent to be cast very honest from the scene and be able to make their personal and most heartfelt truth in performance. In other words - to make the theatre an authentic experience. This is the simple but profound sense of theatrical experiment "Nocturne" - performance that has no other claims, except to share what it means for two people to be together.” (across an article in the “Literary Gazette”, 7 July 2010)