scenographic moments in two parts
Created and developed by Irina Komissarova in collaboration with Muza de la Luz, Paulius Kilbauskas and Eugenijus Sabaliauskas.
Genre: experimental anti-horror live music performance and installation within a visual meta-narrative.
First premiere produced by Norwegian Theatre Academy and presented as part of the §112 Fredrikstad pilot festival in Fredrikstad, Norway.
May 31 and June 1, 2024.
Full Credits
created and developed by Irina Komissarova
collective Muza de la Luz, Paulius Kilbauskas and Eugenijus Sabaliauskas
technical support: Rui Almeida, Ulf Knutsen
production manager: Sunniva Solberg
photo and video: ksswr, Mohammed Lehry, Oyvind Hansen, Ole W Moe Lund
produced by the Norwegian Theatre Academy
supportive talks, discussions: Sidsel Graffer, Philipp Schulte, Serge von Arx, Karen Kipphoff, Saul Garcia-Lopez, Jakob Oredsson, Solveig Ylva Dagsdottir, Lisa Birkenbach, Karoline Amalie Severinsen and Muza de la Luz
inspiration: Yuriy Kharikov and Gian Maria Tosatti
Critical Reception:
Gian Maria Tosatti, Italian visual artist
“It was a visionary sink into an existential and political labyrinth, full of echoes from European philosophical and artistic thought.
What impressed me too, from that experience was how simply (and with very poor elements) she was able to overturn the perception of the visitors and taking them into her world”.
Karoline Skuseth, artist and curator at BIT Teatergarasjen, Norway
“Irina's work is characterized by a strong commitment to feminist values and a desire to subvert traditional power dynamics, as well as a talent for combining disciplines and techniques to create immersive experiences that blur the boundary between the stage and the audience.
Her innovative approach to scenography is marked by a willingness to take risks and adapting to changing circumstances. Through her creative vision and experience as a set designer, Irina skilfully creates atmospheric spaces that appeals to a wide range of senses, inviting the audience to explore and engage with the artwork”.
Plot
The forest harbors a tale of a death ritual involving a magical beast.
The main character is a woman over 30 who has heard about this ritual. Obsessed and weary, she decides to seek out the beast. She journeys into the woods to meet this mystical creature—and with it, her fate.
Her encounter with the beast promises to unfold during her final hours, offering the most serene and blissful moments she will ever know. This profound connection vows to reveal empathy, genuine friendship, and love to her. When she feels ready, it assures her a peaceful rest in its embrace, drifting into a tranquil slumber. As she sleeps, the beast pledges to complete the cycle, consuming her in a final act of unity.
However, this extraordinary encounter can only occur if the woman is truly prepared for it.
Research topics
- Institutional critique: contrasting the free natural landscape with the institutional "Black Box" stage
- Scenography as a narrative, guiding the storyline's development: creating the conceptual framework and allowing for potential variations within it
- Scenography as a curatorial tool, engaging:
• Sound scenography
• Light scenography
• Body scenography
• Narrative scenography
- Imaginary scenography - built by the audience's imagination
- Zero-cost production: expenses limited to props, rent, fees, and travel costs
How did the idea come about?
In modern society, we conform to established norms and rules, shaping our values and limiting our thinking. Manifestation asserts societal roles, while de-manifestation dissects these constructs.
Identity crises often arise as we pursue societal ambitions, sometimes abandoning our ideals. De-manifestation explores these identity questions, aiming to free us from imposed stereotypes.
This concept raises questions about our true essence and the possibility of self-discovery through de-manifestation. It's a crucial step towards self-awareness and liberation from socio-cultural constraints.
The "de:manifestation" performance emerges from this idea — an encounter with a beast reflecting ourselves. It challenges us to contemplate our uniqueness and search for true identity in a world of prevalent standards and behavior patterns.
Fredrikstad episode
At the end of May, the project's premiere unfolded in two parts: one set in the forest, the other in the stark emptiness of the Black Box.
On the first day, audiences embarked on a walk into the woods where they encountered a girl in the beast's nest, nestled in the middle of a forest lake.
Each participant received a set of tools to experience the magical forest — special glasses and an electric torch that revealed hidden life around them.
Everyone was free to experience the forest in their own way, guided by a single simple rule — be a respectful guest of the forest.
photo by Oyvind Hansen
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photos by Ole W Moe Lund
On the second day, the same audience entered the empty Black Box. There, they encountered a performer seated in a nest, enveloped by an intricate soundscape and evocative lighting. Each spectator was invited to conjure their own forest within their mind's eye, guided by the unfolding narrative and the eerie atmosphere that permeated the space.
Here, the beast appeared...
photos by Mohammed Lehry
