Idiotology

Idiotology, the doctrine of the idiotic foundations of the soul.

According to Fyodor Dostoyevsky's novel The Idiot.

Author of the staging and director: Klim Kozinsky

Scenography and costumes: Anastasia Nefyodova

Lighting Designer: Alexey Kovalchuk

Composer: Denis Horov

Choreographer: Asya Andrianova

At the heart of Klim Kozinsky's debut performance is a composition of two texts: Fyodor Dostoyevsky's novel The Idiot and the philosophical work of the predecessor of classical German philosophy, Gottfried Leibniz, Monadology (1714). In his treatise Leibniz forms a model of the ideal world, in the center of which is the soul or its simpler form - the monad. Comprehending this world with the help of reason, the soul develops and gradually goes back to its Creator. But no philosophical dogma can capture the world with the help of its ideas: trying to master life, it destroys it. The soul can not fulfill its dream of life, but it can not abandon the ideal knowledge about it. The clash of ideas and reality creates a war that covers the whole world. Prince Myshkin is fascinated by the idea of ​​uniting two worlds: the world of divine law and the earthly world. It is difficult to say whether the prince is the bearer of the gift of genius or is it a disease, the blindness of the soul, "idiocy." Prince Myshkin makes an attempt to change the nature of things, to awaken the soul's remembrance of his divine principles, but not from the temple (after all, he is not a priest, he is a secular man), but from within life itself, thereby disrupting the natural course of things. The world around him begins to crumble. The text of Leibniz in the play does not directly sound, but is woven into the musical structure of the play, as a theme. So on top of one pattern - the plot twists and turns of Dostoevsky's novel - another one, from the world of philosophical ideas and shifters. The Bible, which is in the hands of Aglaya Epanchina, is a simple phone book. Symbolically, the journey of the soul, from the dark, "sunset" state passing into the aniline agiotage and, finally, to an even state, is reflected by the monochrome, referring to René Magritte's painting, scenography. Cast: Asya Andrianova, z.a. Russia Oleg Bazhanov, Denis Burgazliev (Anton Chekhov Moscow Art Theater), Anna Daukaeva, Pavel Kravets, Elena Morozova, Yevgeny Samarin, Alena Shutova.