красный квадрат, хитровка, dozado
21 Июн 2017

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Когда-то футурист Маринетти предлагал расшевелить зрителя, намазав стулья в зале клеем. Расчет верный: приклеившийся зритель начнет возмущаться и тем самым из пассивного наблюдателя превратится в активного участника представления. Маринетти вывел общее правило, которому потом следовал и Бертольд Брехт, и создатели жанра перформанса: сократить разрыв между публикой и исполнителем можно, создав ситуацию, в которой зритель почувствует себя неловко1.

 

В перформансе «Красный квадрат» проекта «Ohne Zuсker» такой цели, похоже, не ставилось. «Красный квадрат» — это четыре перформера, двое мужчин и две женщины, и один бесплотный, неизвестно откуда идущий, но очень внятный мужской голос. Непререкаемым тоном голос дает команды, очень конкретные: «Отставьте левую ногу назад и разверните корпус вправо», «Достаньте из кармана сухарик. Съешьте его», «Разденьтесь»… Показанный впервые в пространстве «ШАГИ», затем на Хитровке — в «черном ящике» с традиционной расстановкой зрительских мест, перформанс длился час и был умеренно интересным. Перформеры послушно выполняли команды, какими бы членоломными они не были. Ставя себя на их место, телом, кинестетически, вчувствуясь в их движения, зритель испытывал неудобства, физические и моральные. Ясный и прямой, как палка в лоб месседж, на протяжении часа не менялся: да, диктатура чужого сознания над телом, да, авторитарное общество, где люди безропотно выполняют чью-то волю. Всё это мы давно знаем и чувствуем на себе, хотя и не всегда и не с такой, как в перформансе осознанностью.

красный квадрат, тарас бурнашев, перфоманс, dozado , театр наций

Но вот «Красный квадрат» показали в Новом пространстве Театра наций, где сцена не отделена от зала, с иной организацией пространственных отношений между актерами и зрителями. Там он длился целых три часа. Другое пространство и, в особенности, увеличенное время кардинально изменили перформанс. То, что было перформансом-картинкой, в новом хронотопе превратилось в перформанс-инсталляцию, с совсем иным эффектом. Если на картинку зритель смотрит дистанцированно — «как в театре» или «как в телевизоре», — то в инсталляцию он, по крайней мере, теоретически, гораздо больше включен. В таком перформансе важны совместные «здесь и сейчас» актеров и зрителей, которых объединяет непосредственный опыт проживания времени и событий.

В своей длинной версии «Красный квадрат» стал напоминать «искусство выносливости» — особый стиль перформанса, возникший в середине 1970-х годов. Это перформанс «героический», или «экстремальный», где к исполнителю часто применяется насилие. Маринетти, если бы увидел такие перформансы, обрадовался бы: наконец перформанс стал по-настоящему шокирующим, задевающим зрителя. Вспомним многочасовые действа Марины Абрамович, в которых публике предлагалось ее по-всякому мучить и смотреть на ее страдания. Затронув пугающие публику темы — секс, боль, нанесение себе увечий, ей и другим перформансистам удалось преодолеть пассивность зрителей. В «Желании» («Desire», 1986) Карин Финли демонстрировала «сексуальные излишества». В инсталляции «Часы посещения» («Visiting Hours”, 1992) страдавший муковисцидозом Боб Флэнаган часами подвергался мучительной терапии лежа на больничной койке. В перформансе «ХМ» (1997) Патти Чанг простояла несколько часов, скованная по рукам и ногам (рукава ее серого делового костюма были пришиты к бокам, чулки сшиты вместе) со стоматологическим фиксатором во рту. Вид изливавшейся на костюм и туфли слюны, пишет Роузли Голдберг2, усиливал феминисткий месседж перформанса. А не так давно «наш» Андрей Кузькин в перформансе «По кругу» (2008) четыре часа мешал ногами цемент — до тех пор, пока тот, наконец, не застыл.

В «Красном квадрате» мучитель — это голос, заставляющий актеров непрерывно двигаться, на протяжении трех часов выполняя самые причудливые команды. Смотреть на покорное исполнение этих команд само по себе тяжело, а при виде все нарастающего утомления перформеров — просто мучительно. Руководитель проекта «Ohne Zuсker» Тарас Бурнашев признает, что «состояние подчинения, о котором собственно и есть эта работа, по-настоящему стало проявляться только в конце». Добровольная пытка перформеров постепенно оборачивалась пыткой и для зрителя. Танцовщица, хореограф и терапевт Анна Гарафеева — одна из немногих, досмотревших перформанс до конца, — комментирует:

«Уставшие, тяжело дыша, с несколько растрёпанными волосами, они продолжали выполнять команды, которые говорил им голос. Их ноги не с первого раза попадали в штанину, равновесие удерживалось с трудом, не было первоначальной четкости движений, они стали для меня даже более интересные, живые».

Нараставшая усталость актеров внесла помехи в четкое выполнение команд и оживила весь перформанс. Зрители все больше включались эмоционально. «Неужели, — думала Анна Гарафеева, — глядя на то, как они, обессиленные, одеваются и затем бегут, неужели они исправно, на протяжении трёх часов, выполняли команды голоса? Неужели никто не запротестовал? Ведь можно же просто перестать их выполнять! Вот это мне было бы интересно увидеть! Протест. Бунт». Но бунта не было: в финале актеры из последних сил, но столь же послушно, как в начале, выполняли команды голоса.

А что же сделали зрители, возмутились ли они? Если да, то никак этого не выказали. Анна, например, начала фантазировать: «я воображала о протесте, представляла себе как один из перформеров забастовал и сел на пол, наблюдая за остальными, продолжающими исправно следовать инструкциям. Или, как кто-то закричал на раздававшийся не понятно откуда голос, вступил с ним в разговор, или разговор с нами или собой. Или начал делать что-то совершенно другое, просто танцевать как ему или ей хочется. Мне хотелось какого-то нарушения». Тем не менее, порядка никто не нарушил — ни перформеры, ни зрители. Понятно, первые — по уговору. Но почему вторые, то есть зрители, не встали и не потребовали пытку прекратить? Все молчали, никто не двигался. И дело не только в пассивности отечественного зрителя, — хотя пассивность эта старательно формируется воспитанием, школой, политикой. Дело еще и в том, что наш не слишком еще искушенный зритель воспринимает фрейм «перформанс» как фрейм «театральный спектакль», возводя между собой и актерами, как в театре, «четвертую стену». О том, что он может быть не только наблюдателем, но и участником перформанса, ему надо сообщить особо — как, например, это сделал Алан Капроу в своих «Хепенингах участия»3. Но ведь свои «18 Happenings in Six Parts» Капроу устраивал в 1959 году, более полвека назад! А наш зритель и ныне там — он и инсталляцию воспринимает как «картинку» и никогда – как интеракцию.

Оказывается, очень трудно, как того хочет, например, Тино Сегал, «концептуализировать зрителя в качестве личности, которой под силу многое». Один из наиболее востребованных художников-перформансистов, Сегал делает зрителя участником, часто без его на это воли, но устраивая все так, что зрителю приходится потрудиться. В перформансе Сегала «Этот прогресс» («This Progress»), в Музее Гуггенхайма (2010), посетителя встречает ребенок и задает вопрос «Что такое прогресс?». После краткого диалога посетитель попадает в руки перформера-подростка, затем переходит к юноше и, наконец, к взрослому, все это время продолжая серьезную беседу. Так, когда я пришла на этот перформанс, повторенный в прошлом году в парижском Palais de Tokyo, подросток меня спросил, почему у меня нет детей и не собираюсь ли я усыновить малыша из Африки. Относящийся к личной сфере вопрос от соверешенно незнакомого человека, да еще и ребенка, меня сначала покоробил, потом взволновал и заставил задуматься.

«Красный квадрат» — это испытание не только для актеров, но и для зрителей. Насколько мне известно, никто из них не прошел тест на пассивность. «Протестовавшие, — предполагает Анна Гарафеева, — просто уходили. Мало кто остался до конца, всего человек пять. Наверное, если бы всех зрителей заперли на три часа, тут что-то точно бы началось». Началось ли? Вспомним, что в работе Марины Абрамович «Ритм 0» (1974) зрители воспротивились ее мучениям только в тот момент, когда кто-то приставил к ее голове заряженный пистолет. Слишком сильны в нас чувство дистанции, нежелание выходить из рамок, подчиненность фрейму, — в том числе тому, который отделяет актеров от зрителей. Слишком трудно выйти из зачарованного круга под названием «спектакль». На этом разделении стоит весь театр как зрелище. А хороший перформанс его, это разделение, проблематизирует. В этом смысле «Красный квадрат» — хороший перформанс.

1Роузли Голдберг. Искусство перформанса: от футуризма до наших дней. М.: Ad Marginem, 2014), 202.
2Там же, с. 274.
3В программке значилось различие между «участниками» и «посетителями». Участникам Капроу дал перед выступлением указания — какие действия они должны одновременно совершать за ширмами в трех разных секторах представления. См.: Томас Дрейер. Наблюдатель как актер в хеппенингах и тотальных интерактивных инсталляциях. Перевод Ирины Соколовой // МЕЖДУНАРОДНЫЙ ЖУРНАЛ ИССЛЕДОВАНИЙ КУЛЬТУРЫ. Размещено 01.07.2011 http://www.culturalresearch.ru/ru/art/67-dr1
Текст: Ирина Сироткина
Фото: Маша Сычёва

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