Business gospel. Matisse Cats Staged Show National Channel Review / Day

After the topics and moods of a great hit in last season’s show Gentle power Cinema and theater director Matīss Kaza has also made his debut in the Great Hall of the Latvian National Theater. Previously, he has staged the original of Elza Marta Ruza for the right of a personal drama to his voice, despite the conjuncture, which legitimately demands the perception of black and white. Now in the show National channel He offers his version of his own translated Lee Hola and Padia Chayefsky’s play that depicts the events of Oscarot Network/Network (1976) Basic. It addresses media ethical issues and at the same time illuminates the individual who is played by the era and fellow people. Although the view seems dystopic, it is not that difficult to believe.

Muddle eruption

The first part of the show passes as an elegant tragicomedy. The tension is raised by the jazz rhythms and the continuous drawing of movements of choreographer Ramona Lanes, which unites the body’s bodies in a common story. It takes special purpose at the time when the audience tends to catch a rotating stage one after another, following the work, that is, life, the losing long -time news moderator of Biel, Bill, for the impressive eruption of the madness, but in reality, running for a percentage.

Despite the play in the television environment and the director’s own creative work, cameras that previously expanded the new hall walls and broke into the private space of the characters this time are not used at all. However, the cinematic effect is created by the organization of the action around the cylindrical object installed in the scenographer Reina Dzudzilo. It has a functional meaning, as a carousel, offering a new place again in the carousel, though, believed to be a conceptual load, pointing to the race of today’s life, which continues to move away from the search for the once lost life. Needless to say, even the facade of this unattainable reality is fake – the flat images of the interiors have been generated by artificial intelligence.

The spotlight remains only a slit in the center of the stage. We see a slow, frozen or already running heroes. One can only admire the accuracy of the technical performance, when the actors speak light and shadow, despite the disadvantage, speak in the dark or below the video projections.

The second act of the show was staged in a psychedelic surreal atmosphere: the action takes place in a propelled box, which shows the hidden machinations of the informative and entertaining content at maximum. Photo – Kristaps Kalns

In order to prevent the viewer from relaxing, the second act was staged in a completely different atmosphere – psychedelicly surreal. Now, the action is over, hopefully, deliberately but the box that resembles a huge pixel, to show the hidden machinations of the informative and entertaining content in the maximum briefing. But when the heroes access the center of power, it turns out that there is nothing valid for life. As the throne here is the demiurist of this world, the chairman of the totalitarian corporation. In a small scene, former New Riga Theater Student Emil Ralph Zagorsky, with simple means, surprisingly created a fascinating image, no matter how immoral it may be. The balanced, meager young man resembles the perception of Jesus Christ, a preacher who, instead of the gospel, focuses on the principles of corporate market, the Savior, who will not be liberated from sins, but from his own point of view, and on the name of alien ideals.

Pulling to the hollow music of Martha Ansone and dazzling the bright color of the kaleidoscope, as always the ideological conversion of the selfless Laura Silina in sensual Solonumura tries to convince that well -packed nowadays can sell everything, including a violent revolution.

This is the quality of the play that only a few phrases change the story of today’s sound. Now, as fifty years ago, terrorists threaten the peace of society, various generations of quarrels about values, still criticizing neoliberal capitalism machinery, Middle East money takes over the Western market, while ether challenges people’s lower instincts.

Somewhere across the ocean

With such a promising opportunity to talk about us now, the time shown on the stage, as evidenced by the clothing that has been in the power of Christ, is shown. Pants wide rays and shoes for impressive soles are witty with today’s trends, but striking agent tones are more likely to indicate dusty seventies of the last century. Karl Reyer’s comic reporter, whose theatrical voice, posture, movement, and mimic actor has cultivated to a detailed perfection, but remains an anachronic dinosaur of the last century.

Perhaps by polemizing news titles on the stage space from the US today’s political and cultural life, the creative team had planned to laugh at the media cult that offers the viewer anything he wants to see. But isn’t it rather that the media is getting yellow, with the viewer who also brings with them? And also the loud phrases about the blowing democracy, however, do not seem to be suitable for this time without individual value.

The second act for a warm -up prospective actor, Kristaps Kristers Ozols, is tasked with testing the audience. A commitment to expose the grass to his energy sparkling image, he is trying to unite it in hysterical slogans to strengthen faith in the furious aggressive statements of the raging Bill, which would expose the ruling elite. At the premiere, the fake viewers sent in the first rows created a frightening mood, making it fantasize whether a person could lose common sense so quickly and stop thinking with his own head. In the second show, on the other hand, at the beginning of the audience, the poor responsiveness produced even a stronger effect – leaving the bile alone with his own rating dazzling team and presenting another feature of our time, namely indifference to issues that do not directly affect us.

Although we can see the same problem in the local media environment, let’s not deny that scales and rates are not comparable. Therefore, the show seems to cause an unhealthy aspiration for its already widely imported superficiality, which deceives with the diversity of content, the brilliance that reflects only itself, and the pleasure of the impact, which is nothing more than manipulation. I want to say that the previous Matisse Cats Show Gentle power This theater was about us here, in turn National channel It’s about Americans somewhere there, across the ocean.

Hierarchy scheme

Media’s activities and the network of relationships therein, which even has a hierarchical scheme for tracking the subordination program, symbolically marked by the huge actors’ ensemble of various volumes and importance.

The phrases assigned to the microscopic tasks are fully survived by old masters Ivars Puga and Normunds Laizāns, as well as emerging actress Elza Ruta Jordane. Madara Reijere fixes the studio manager and Uldis Anže Anže Parkinsonism’s highest role in the portrayal of the functionaries, remains skillfully at the narrow border of caricature. Grotesque temptation has also been allowed by Matisse Budovsky, who has stepped out of a expressive but comfortable nervous cynic image in the producer of the news service, and Igor Shelegovsky, who is in the channel’s Executive Director’s executive director and seems to be a bit confused.

On the other hand, Daiga Kažociņš and Mary Berzins are different in their dramatism beautiful explanation scenes with a middle -aged man, Beel’s direct chef Schumacher when he announces the adventure with a much younger colleague, curator of entertaining content Diana. In spite of intellectual and aesthetic concepts, it is difficult to excite as a revelation of a jerk on the stage.

Agnes Budovsky’s graceful Diana is a refined calculator, and the disadvantage of any ideology in the industry is her professional conviction. But only in the version of emerging actress Agate Mary Buksha, this hero is still a new predator, and can some extent be attributed to the actress himself, who has quickly been able to fit into the ensemble among hardened professionals without feeling the measure and not healing with temperament. Her heroine is more of a novice career, stubborn and a bit corner, in a relationship, but still able to feel. This Diana seems more human, because the voice in the diverse mood is to be heard yet in a non -fan, insecure sense of life. However, the relationship between Diana and Ivars Klavinska is not able to believe Schumacher, the head of news service.

The main character and storyline catalyst is the hovering news moderator Bill, who is ready to shoot live. Egon Dombrovskis’ portrayal does not make it clear whether Bile’s confusion has some conceptual connection with the crazy world around him or it is only an individual disease. And the answer is crucial to saying what this show is about and whether we have any opportunities to change the world for good. Bill is not chaotically looking for salvation in religion, and later, it is equally unexplained by the new Maxim, the world’s new Maxim. The creation of a single image is also difficult for the actor to execute every speech as an extravagant performance in which he must be able to beat the amusing costume amusing effect – whether it be an analogue television -specific color band, a suit, inspired by art gymnast Trican or Persian tears.

When the commercial potentials of Biel have been shown, the employer sacrifices him in the dull terrorist barrel. This will probably give the channel a new rash again. She accepts this task without hesitation, although they may both have more in common than the difference. This challenging story just strengthens the concern that no one can trust. And the creative team was not afraid to complement it with even more irritating colors and shapes, offering some kind of vigilance training.

National channel

Latvian National Theater 9th, 17th, 24th 19
Tickets Ticket paradise In the network EUR 14-45