DRAMA REVIEW: Kurbas Theater's 10th anniversary presentations (04/05/98)

DRAMA REVIEW: Kurbas Theater's 10th anniversary presentations

by Julie-Ann Franko

From its inception in 1988, the Les Kurbas Theater strove to develop theatrical methods and practices upon which a new stage of theater could emerge. The troupe began by embracing the aspects and standards of Ukrainian and world theater and, in so doing, brought together Wagner's concept of total theater whereby all aspects of theater - actors, text, audience, stage design, music, costumes, lighting - are used as ingredients to be combined into a whole performance with ancient Ukrainian theatrical tradition.

In the first of its productions, Lina Kostenko's "Marusia Churai," a testimony to the solidity of this beginning's aim was achieved. The production brought together a newly formed collective of actors who lifted Kostenko's verse drama off its page and transformed it into a breathing series of Ukrainian cultural landscapes. The scenes were interwoven into hauntingly beautiful icons painted onto floor to ceiling canvas scrims (painted by Lviv artist Andrii Humeniuk) through which music floated as the embroidered characters passed through, as if caught in a painting of their moment in time. Clearly this presentation is not a traditional means of telling the tale of the Ukrainian songstress Marusia Churai (Tetiana Kaspruk). It is almost ironic then, that what resonated out of the work, and 10 years later continues to resonate, is the grace of the traditions it holds. The core of a Ukrainian spirit - the collective spirit of a land's thoughts, voices, colors and textures - rises up and is literally revived through the ambition of theatrical probe.

In revisiting this work a decade after its first appearance, the Kurbas Theater's public is given a context through which it can measure the theater's history and accomplishment.

"Going back to this work," observes actor Oleh Drach, "is like going back to your first love. It's a reunion between the impulse of innocent beauty and experience." As no attempt was made to reinterpret the work from the theater's modern professional standpoint (a practice that until now has been observed), the revival is a metaphor of itself. A painting of its cultural genesis caught in time onto its scrims.

When this painting is held up to Hryhorii Skovoroda's "Grace-given Erodii," another work being presented on this American tour, a distinct course of theatrical evolution is overtly visible. The theater's interpretation of Skovoroda's 18th century parable on the significance of being brought up in grace is a full realization of the theatrical potential begun in "Marusia." Where "Marusia" can be praised for its successful weaving of text, set, lights, actors and song, these elements are nonetheless confined to a kind of flat theatricality: as an audience you are invited to look at the painting, but ultimately not asked in.

The theater's production of "Grace-given Erodii," by contrast, asks much more of itself. The two-character parable is played out by the entire company, with every actor taking turn playing either the haughty monkey Pishek, or the young humble stork, Erodii - thereby bringing these "characters" out onto a playing field through the interpretations of several different players: Ms. Kaspruk's Erodii is the wide-eyed innocent; Andrii Vodychev's is the graceful, evangelical prodigy; Oleh Tsiona's the impassioned orator; Yuri Mysak's is the young man who's coming into his wisdom. Mr. Drach begins playing the role of Pishek with enormous physical presence (and with a love of playing with the text's words), while Natalia Polovynka's Pishek is a sprightly flip inquisitor, and Marianna Podoliak's understanding corresponds to one whose "wonder has been opened."

All these points of interpretation are made experimental by pushing the actors farther out into this extremely physical playing field by having them transform themselves into the choir that envelops the work, or into the visions of a heavenly heart and hellish nightmares that grow out of Erodii's monologues. And as the actors function to bring together all these aspects into the whole of one character (or rather two characters), so do all the elements in this production coalesce to bring about a theatrical whole.

Nina Lapchuk's earthtone costumes intermesh between the "characters" and Andrii Humeniuk's set design. These sets, which echo "Marusia's" painted canvas scrims, do not hang down as a barrier to the action but open inwardly as a gate that leads toward a path (and on a big enough stage, toward a depth) that ends in a very large basket. This basket, a single structure woven out of assorted materials (a metaphor of the work), literally and figuratively contains all the lessons of Erodii's father's teachings (the role of Father, a "character" that rises up out of Erodii's monologues is alternately played by Volodymyr Kuchynsky and Oleh Stephan). The point of everything, to paraphrase Father, is that the thousands of everything that exist to create one whole thing do not mean anything by themselves. In living with these thousands of things everyone will be cursed, "cursed until he finds the oneness."

In bringing together the depth and insights of Skovoroda's dialogue, its colors, tones, textures and resonant melody of language, with the colors and textures of all that is available to Kuchynsky's theater, an epitome of total theater is realized, and is the standard by which all of the theater work should be measured.

With this tool of measurement in mind, it is clear that the Kurbas Theater's production of Lesia Ukrainka's Dona Anna play, "The Stone Host" is on a path to such a realization. Given that its American presentation is a work in progress (slated to premiere next August), it is futile to discuss the work in analytic terms. Rather than dole out prophetic criticisms, this space shall be used to comment on where the work is at this time and space.

Having made its "premiere" in Maplewood, N.J., at the beginning of March, the work presented itself in its courtship stage. It is apparent that the relationship between actors, text, music and costumes, while not fully mature, were nonetheless connected. Of these elements, the most cohesively developed aspect is the actor/text/music relationship: there was a clear consummate understanding between Ukrainka's text and the Spanish sibyl and court music that scores the work. And, as usual, the relationship between the actors as an ensemble proved to be full with tempo and flow.

Ms. Polovynka and Mr. Stephan, joined as Dona Anna and Don Juan, were the force of a wave upon the company's shore. Ms. Kaspruk as Dolores and Mr. Tsiona as the Commandor stood as the pillars which moderated the work. Mr. Mysak's Sganarelle slithered through all the events while court members Mr. Vodychev, Mr. Drach, Ms. Podoliak and Mr. Kuchynsky garnished the work with the rhythmical hand clapping, foot stomping, drum beating and voice chilling tones of ambiguous celebration.

Less readable was the relationship between the costumes and the work. From a dramaturgical standpoint, the use of outrage and color seemed oddly misplaced between and worlds of Seville and Madrid. It must be restated, however, that the costumes, too, are works in progress, and they, along with the shapes and distinctions of the two worlds, most likely will become more refined.

As the Les Kurbas Theater winds down this American tour, these works have unwittingly created a monument to the theater's legacy and aspirations. In viewing those three works collectively, the Les Kurbas Theater's past, present and future are presented as a living history and testimony of modern Ukrainian theater's potential and triumph. The process and message these works give to all roads the theater will travel down - both here in America and throughout the world, is best epitomized by Mr. Drach, "We love where we come from, we respect how we've grown, and there by the grace of where we're from and what we've done, we shall go on."

Julie-Ann Franko is associate artistic director and dramaturg of the Les Kurbas Theater. She received her master of fine arts degree in dramaturgy and drama criticism from Yale University.