Founded in1987 as an experimental physical theatre company, DoTheatre is considered one of the most influential group to have come out of post Communist Russia. The company pioneered a stile of extreme physical theatre and created a dance language known as Russian Modernism which is brutal, demanding, yet infused with poetic tension. Since the early 1990’s DoTheatre have both carved out unique place in European theatre and continued to develop their own style through international collaboration. The company currently based in Aachen (Germany) and tour their work to major dance and theatre festivals all over the world
DoTheatre last productions:
‘HOPELESS GAMES’ (1999)
Edinburgh Festival, Fringe First Award 1999.
"This hour long piece is both a requiem and a celebration…it takes us on a surreal and
playful journey in the heart of darkness. It wakens the past, breathes life into all
those old black and white photos and forces us to remember not ghosts but the flesh and blood. It turns millions into individuals… Such purity is hard to find and even harder to forget." LYN GARDNER, THE GUARDIAN
‘UPSIDE DOWN’ (2001)
Edinburgh Festival, Fringe First Award 2001.
"Whether it’s clowning or contemporary dance, this trio shares a remarkable degree of technical finesse.. it’s mad mischevious, and very, very dark." MARY BRENNAN, THE HERALD
"Upside Down is a bizarre, darkly humorous parable in which man plays God- and pays the price... a mesmerizing and unsettling piece of dance-theatre." LYN GARDNER, THE GUARDIAN
‘BIRD'S EYE VIEW’ (2002)
"In Do’s work, flight and the fear of flying come to us on subconscious level, without the mediation of logic or narrative. What is left is an experience of technically very accomplished as lightly as a dream, and leaving the imprint of singular vision." CHARLES DONELAN, THE INDEPENDENT (SANTA-BARBARA, USA)
"A highlight of the festival at the Theatre in Palais…Breathtaking sensual
dance-theatre with grotesque, bodyexrpessivity, light and smoke pictures, deep black humour and moving music…brilliant, headless comedy." GRAZ, KLEINE ZEITUNG 15. JULY 2004
'NONSENSE' (2004)
"Nonsense, a zany essay on decapitation, phrenology and the sources of creativity. The hour-long work also offered the funniest character of the season, a headless composer who, violin bow in hand, waddled the stage, bumping into things."
ALLAN ULRICH, VOICE OF DANCE MAGAZINE/SAN FRANCISCO, USA
‘SLEEP..LESS...NESS.’
(2005)
"They move in and out of the floor soundlessly, and dance with such accomplished poise and presence that every movement, whether squirming on the floor, dangling from the bed frame, throwing oranges at each other or leaping into the air, appears utterly natural and without guile. A more thorough, deeply felt exploration of the theme of insomnia could not be imagined.“ CRITICAL DANCE MAGAZINE/ EDINBURGH 2005
“Do-Theatre trade-mark use of projected images on to gauze so that live action and film are seamlessly joined comes into its own in crating a dreamy world where sleep seems like drowning, and sleepers are tossed and turned on their boat-like beds." LYN GARDNER, THE GUARDIAN
"Choreographer Evgeny Kozlov has captured a ghastly precision in his dancers, with sleep appearing like a lover and the act of being awake symbolizing a state of loneliness and boredom. At its most inventive, Kozlov cleverly alludes to, but never indulges, the fears of the Russian nation, with images of imprisonment and hospitals, and dreams that are all too easily forgotten." ANNA MILLAR, SCOTLAND ON SUNDAY
‘HANGMAN’ (2006)
“Hangman (the Do-Theatre dance company’s latest choreography,) leads us into a strange world of perpetrators and victims, judges and executioners, by evoking startling associations and eerie effects of light and shadow. What’s important and significant is how the “Trinity” of personified deafness, blindness and muteness is
interpreted and overcome in the dancing. Dancing lights and floating tables start a sort of bizarre and surreal interaction between convicts, judges and murderers. In the Hangman’s choreography an innovative language of movements is created, in which both brutal and macabre elements as well as poetic and mysterious elements are used ingeniously. The appeal of this fascinating and captivating “hangman” legend lies in the role reversals and the intriguing changes of perspective." GRIT SCHORN, AACHENER ZEITUNG APRIL 2006
Ferreo onnipotente estremo rullo rotante che sgrana e stralcia in velocità costante ad una ad una la fila passa sotto gli occhi stanchi polvere nera s'alza e carne rode la macchina lucente che nulla dice nulla pensa ronza e stride in ritmo sempre uguale oh pollice contratto oh mano disarmonica e ferita lascia cadere quel che stringi ed odii e trita i nervi della tua mente stanca rivolta la schiena e canta forte sovrasta i rozzi suoni che ti opprimono scagliati contro come folle infuria nella fabbrica curvi ruffiani dediti a leccare i piedi al buon benefattore nuove macchine lui comprerà domani e tu lo aiuterai a far carriera ma la sua sete inaridisce pian piano la tua vita
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