Stage Design Crime and Punishment
The spatial concept of stage design is inspired by the fragmented space of memory and the split-up of the main character, analogously, to dramatizing scenario set in flashback and Ich form. The tunnel, which narrows to the depth of the stage is made up of six segments. Coming out to the proscenium, its surfaces become open and draw auditorium space, combining both space/time of the performance with the present moment.
As soon as the first scene ends, deep linear space and the integrity of views decompose. The segments start to move transversely, thereby eliminating the unity of perspective. Memories appear through the detail, as a visual link between situations which we remember, thus creating a new meaning of the experienced. By changing the configuration of segments, both realistic and psychological space of drama is achieved. During the performance a series of scenes and individual perspectives are created, and they add a parallel image of subconscious and/or concurrent events to the main scene.
The starting point of stage design and dramaturgical approach were Risunki – Dostoevsky’s notebooks in which he wrote in a nonlinear and graphically complex way. The pages illustrate the manner in which he created and constructed his novels – fragmented, as parts of novels written in different directions, interwoven with portraits of figures and details of the architecture of the cities in which the plots take place. The sides of the tunnel are the enlarged pages of Risunki, which interweave drawings and text written in both Cyrillic and Latin script in the manuscript. The spatial concept, together with dramatization and directing, develops the same idea of poly-perspective and fragmentation, as an echo of the manner of thinking and writing of Dostoevsky’s novel.
As soon as the first scene ends, deep linear space and the integrity of views decompose. The segments start to move transversely, thereby eliminating the unity of perspective. Memories appear through the detail, as a visual link between situations which we remember, thus creating a new meaning of the experienced. By changing the configuration of segments, both realistic and psychological space of drama is achieved. During the performance a series of scenes and individual perspectives are created, and they add a parallel image of subconscious and/or concurrent events to the main scene.
The starting point of stage design and dramaturgical approach were Risunki – Dostoevsky’s notebooks in which he wrote in a nonlinear and graphically complex way. The pages illustrate the manner in which he created and constructed his novels – fragmented, as parts of novels written in different directions, interwoven with portraits of figures and details of the architecture of the cities in which the plots take place. The sides of the tunnel are the enlarged pages of Risunki, which interweave drawings and text written in both Cyrillic and Latin script in the manuscript. The spatial concept, together with dramatization and directing, develops the same idea of poly-perspective and fragmentation, as an echo of the manner of thinking and writing of Dostoevsky’s novel.
