French platform artist Jean-Paul Searmadirus recently performed a dramatic singles based on the story of Fiodor Dostovski, “The Dream of a Hasayak man” in Alliance Frankeis. , Photo Credit: SS Kumar
If an attempt is being made to transmit a crowd of existential ideas that ambush the minds of a character created by one of the great novelists of the 19th century, then there is no challenge in itself to do so with a minimum theater, one may be the next for impossible possibilities.
Nevertheless, French platform artist Jean-Paul Searmadirus seemed to pull it with an practice efficiency, as he presented a dramatic single based on the story of Russian writer Fiodor Dostovski, “The Dream of a Hasyas”.
The actor depicted the hero of the 1877 Dostoevsky’s short story, using bare minimum props-a long bench and a candle lanterns-and rare, but mood-pinched pieces of background score. The presentation in French has an estimated English subtitle on a background screen.
And, through an hour-long show, it seemed that the artist had held the audience with his hand and inspired him to travel with the ideas of the story hero who has just resolved to kill himself in a fit of Nihilist.
Things are only furnishing progressively before allowing them to breathe in hope and optimism.
The “ridiculous man” struggles to find out the purpose of the opportunity he found on the road to meet with a girl, to help him ignore the house that night.
As the hero slipped into a vivid dream, where he has already killed himself, he is taken out of the tomb by a creature and flown in space and time, and a heaven is detected by happy and innocent people, “their knowledge is deep and mental than science”.
He dreams how he is a person of human greed who poisons the ancient place and connects him with sin, lies, slavery and war. The first drop of blood is the shed, factions are produced and struggle.
Excluding the dream is more than returning to a waking position, this is the moment of epiphyne. How the transformative encounter with an unknown girl changed her fate, drawing the trigger and re -evaluating the beauty of existence to get a second chance to find and re -find.
The play is optional between dreams and reality, factual and imaginary, external confusion and internal travel – a question or conflict between dreams and reality that is the main working axis of the yathest for drama.
The structure of the storytelling is a surprise whether they are actually a precursor to techniques such as stream-off-consciousness, even detect elements of magical realism, which will become popular in literature after about two centuries.
The Olivier was a retiring of the Olivier as a stage director and Gills David, who belonged to the Comedy Frances Theater Group, for his colleague for co-production of Compagni du Passage, La Fabric du Passage and Les Chercars de Lumier, with the support of the General Council of St. Cloud City and its Theat Des 3 Pierce
“Dostovski uses this legend of a dramatic monoton that realizes that he is speaking his mind to the audience”, the semadirs who had only a few weeks ago, presented “back the veil .. Mahasa era”, which was set against the backdrop of Iranian Revolution in 1979.
“The dream that goes to a human roots is more challenging to be compared to some other works of the author such as stupid or brothers Karmazov”.
“Here, I try to live the experience of the lesson, portray the imagination of the dream because it was actually about a place with people … only when the hero comes out of his sleep, the audience returns to the reality of the present”, Sermardas said.
Generally the audience, more to the Indian audience, connect with the drama, perhaps due to disconnection of mysticism and spirituality, Sermaridus, who has co-co -med with the right, “At Purotent, C’St La Waile de Lioror” (and yet, based on Eve), Rimbaud.
Published – May 14, 2025 09:53 PM IST
