Amuralyre
The Underground Karadag Theatre is located in the caves of ancient volcano Karadag which the antigue Greeks considered as an entrance to the Aid’s underground kingdom. Maximilian Voloshym called them Cimmeria, the fairy country but with really existing reference points such as Voloshyn’s house in Koktebel and the environs of Karadag Reserve.
Stages of formation of the Underground Karadag Theatre
1. The Form of Mystery has been chosen for the Theatre not accidentally – from antique times to nowadays, from unlimited fantasy to strict scientific facts, from the fairy tale to severe reality. All this is a continuation of M. Voloshyn’s traditions, his country Cimmeria starts a new life in the Underground Karadag Theatre.
2. The Balls as a Realization of the Mystery.
In the last thousand years the traditions of a classical mystery have been lost, but echoes of the antique tradition started a new life in the form of balls. The meaning of balls as a revival of divine mysteries is not understood by all. This is a separate subject for the Underground Karadag Theatre.
3. The Picture of World Order is the next stage in the development of the Theatre. It is a look at the contemporary world order through the eyes of the antique people. The antique tradition(multidimension) presents the picture of the world order more completely than the traditional Christian tradition(dualism). This is because a number of divine worlds with their masters and their complex relations shows an intricate but a clear picture.
4. M. Voloshyn’s Code.
The existence, deciphering and use of M. Voloshyn’s Code is regarded as one of the main directions of activities of the Theatre. The use of this code in the performances of my Theatre presents a whole picture in our chaos of postmodern. New intriguing plots appear while the already existing plots obtain an unexpected interpretation.
5. The Search of Own Form(Style)
The form of mystery suggests that the text is supplemented by the corresponding music, choreography, vocal and actors’ performance to the extent necessary for revitalization of a complex plot. This is a peculiar feature of Underground Karadag Theatre. That’s how the Theatre differs from classical drama, opera of ballet theatres.
6. The Plots that Run Through and Mega Plots of the Classical Literature.
Filling of them with the contents according to M.Voloshyn’s code and their adaptation.
7. Cimmerian Dances are an example of further improvement of the plots which run through and mega plots. Similarly to the Voloshyn’s Cimmerian cycle in which paintings correspond to the text, my choreography should correspond to the text, scenery, music and vocal.
8. El Momento De La Verdad. I have found the Moir line which connects directly the antique mystery with modern life. The notion of the Moment of Truth, El Momento de la Verdad, came to us from tauromachia of antique Greeks to corrida of Spaniards and then to pasadoble in choreography. This is a key to the deciphering of antique mysteries which came to us by the other way round. For complete revealing of the plot and for bringing it to the level of the Divine Revelation we need to have a whole ritual, the real religious ritual for comprehension of the divine moment between past and future, supreme and lower and of the way we go along.