PALMS. NATIVE PLAY VOL.2

Carnival is the time of magic; it's a day when panhuman claim for miracle can be fulfilled, a day devoted to spending and playing, sort of expiated from practical purposes and concerns about tomorrow. It's time for fest. Nativity is one
of traditional genres we address to, but we don't want to expound the canonical narrative: we want to process the fundamental metaphors of Nativity Play using sophisticated language of tech.Sophisticated in the context of production and the very organisation of the performance. We come across various technologies
at every turn but we don't see anything mirific in it. The existance of celestial bodies in space lost its' miraculousness for us since school days. How can we bring back this quality to daily life? How can fest help us in achieving that? For us it's not just a project; it's a part of calendar cycle. On the other hand, a big part
in the performance is shared with human mastery, presence, skill. The very person is a miracle, but not abstractive technologies.

The performance combines digital techniques and analog backgrounds, movements and gimmicks of aerial artists, live music, singing, live video, human actions in synthesis of theatre and media, where a man is a character, demiurge,
a creator, and projector lens acts as garantor that miracle is possible. Optics
of contemporary theatre and future technologies help to draw nearer this sense
of miracle as the main driving force of life.

The annual ritualism, emphasized cycling of that which is happening on earth each and every year give us cosmic sensation of "searching for authentic meaning trip". Nativity aesthetics of presenting men, conversion of beyond belief things using the simpliest tools in many respects is aesthetics of street theatre.

Carnival is the time of magic; it's a day when panhuman claim for miracle can be fulfilled, a day devoted to spending and playing, sort of expiated from practical purposes and concerns about tomorrow. It's time for fest. Nativity is one of traditional genres we address to, but we don't want to expound the canonical narrative: we want to process the fundamental metaphors of Nativity Play using sophisticated language of tech.Sophisticated in the context
of production and the very organisation
of the performance. We come across various technologies at every turn but we don't see anything mirific in it. The existance of celestial bodies in space lost its' miraculousness for us since school days. How can we bring back this quality to daily life? How can fest help us in achieving that? For us it's not just a project; it's a part of calendar cycle. On the other hand, a big part in the performance is shared with human mastery, presence, skill. The very person is a miracle, but not abstractive technologies.

The performance combines digital techniques and analog backgrounds, movements and gimmicks of aerial artists, live music, singing, live video, human actions in synthesis of theatre and media, where a man is a character, demiurge,
a creator, and projector lens acts as garantor that miracle is possible.Optics of contemporary theatre and future technologies help to draw nearer this sense of miracle as the main driving force of life.

The annual ritualism, emphasized cycling of that which is happening on earth each and every year give us cosmic sensation of "searching for authentic meaning trip". Nativity aesthetics of presenting men, conversion of beyond belief things using the simpliest tools in many respects is aesthetics of street theatre.

Co-production of LIQUID THEATRE & LOW TECH Studio

Co-production of LIQUID THEATRE & LOW TECH Studio