fire and ice improvisational plastic performance a parable about creativity a love story that illuminates everything around them, as well as a story of generations of students who become masters and raise new students in order to live, create and develop annotation of the performance and a brief retelling of the history of a unique family, inclusive theater and its creator irina kiseleva told the performance about her life in the theater. i have been without theater since childhood. i have never been, what, probably, i would not do in my life , because my parents are from the theater spheres and it is clear that i was very accustomed to sitting there or under the easel in the ballet hall or there near the arch of a strictly pit or when

there were some rehearsals in the hall alone there? yes , uh, there from 3.5 years old, and about inclusive theater. i never thought, of course, never after the end of my ballet career. she opened her own theater studio for children who taught the choreography of plastics and vocals. acting, and later in this studio there were children diagnosed with autism had to learn a lot. of course, we immediately realized that knowledge is not enough. and so here slowly everything went. here, and we probably became the theater itself when we had already released it. the first performance gathered by the creative team decided that we probably need to continue, because you can’t leave the children anymore, not a single child came, and we saw it in action. how great it all is, like children, but interacting with talented children with autism interacting with the same ordinary children, but talented without any diagnoses and so on. how well do they open up? how important it is for them. there is a family inclusive theater

, different children learn to communicate with each other . the illusion comes from the english word inclusion, that is, inclusive theater is the theater of inclusion . she in turn. to be included in their world of art therapy, because creativity is not afraid of diagnoses, many things that we were told that those with autism can not. as a matter of fact, we have seen that yes, that is, they can look into the eyes. they can be so strongly contact. here. well, there were a lot of such discoveries. miracles don't happen. here are such hottabychs. they play accurately, that is, this probably does not work here. but if you have enough patience, then many who would be silent begin to speak chatru this year is 5 years old, a serious anniversary, although initially such a scale was not expected. at first there were performances, relatively educational ones, after all. well, shared them. yes, they were like that, and their task was to get used to it and raise children

. well, at least there were very good things. we traveled with them. in general, for them people came to buy tickets, it was also our race, with which we had a good ride, firstly, this is a person who did not ride here, and then there was a tree of fairy tales on which we grew up our children, and hence the story. which resulted in some kind of performance, and then here irina mikhailovna staged at night in the jewelry city according to dostoevsky, the boy stopped the christmas tree. and so it was a turning point. and so that the audience is not just surprised, but inspired and the audience themselves decide to become actors. yes they there they cried, they came up. they said we never believed. it's like a breath of air. and you can also my child and that is, the audience, as if they immediately went to us, yes, with children, but everyone else, who was not at the performance, would have no idea about green . and so hmm, some posts of lisa went there, there was some more and that's all and here's a click. and just

like that, quietly a few years ago, belarusian society was not ready for inclusion, and parents protected their special children, but times are changing. something we analyzed about 90, probably large materials came out quietly, and we other structures also worked there. yes, quietly. this fear is gone. i haven't had him for about two years now. he is different, there is a lot of incomprehensible, but there is no fear, this is the feeling they are. well , it's gone, that's great. do you understand that you are important? to the child of a specific person, and now we have 54 children with autism. in general, there are more than 150 performances of the family inclusive theater, and this is by no means an amateur performance, but the professional work of teachers of actors and psychologists. here i have teachers in vocal choreography , stage speech and acting skills approached the children. i always have the same

feeling, it's the horrors of panic. here's my other feelings about the kids that i might have come to teach initially. no, at once my conditions were that it would not be younger than 10 years old. because for less than 10 years there is something special with children, this is absolutely special for me , a little accessible language in which i need to communicate with them, and how to develop them is generally incomprehensible to professionalize if there are children 11-12-13, 14, 15, 16, 17. there, as it were, closer to the profession to the profession, you can cling to the elements of vocational training and adapt them for children under 10 and 11 years old. i don't understand how to develop them. i don't know i know the profession of inclusion in order to destroy stereotypes and fears, so that we are not afraid to go beyond, to erase the borders of the border between children who perceive the world differently, the border between children and parents and adults. boundaries between already

thematic because every child and every age he carries within himself a range of problems, moreover, fatal for this age, because at a certain time we consider certain problems to be fatal for ourselves. this, in my opinion, is the same for everyone, as i noticed, and when people are together in a group. i am now talking about a group of children who come here, where there is no need to defend themselves, where there is no need, where there is no threat of being subjected to aggression. where is the space? for i am who i am, after 5 years in the repertoire of the theater 8 performances are supported not only by professionals, but also by partners and sponsors every performance. a new, unique story, amazingly spectacular large-scale productions always unite one thing on stage next to the unusual children of the master of the acting profession, fire and ice. the first production in an

inclusive theater for the actress and professional ballerina ekaterina zinoviev is a failure, in fact. i probably didn’t know much about this theater at all and , uh, i walked here like this. something so unknown is incomprehensible, they told me, come. and there you will see everything, and we will see and somehow it all dragged on. it's so enough exciting process. and you know, this is probably such a gift for any creative person, because here a real creativity is created, and which hmm it seems to me, this is exactly what fills us artists, musicians directors and charges another feature of the premiere performance. live music, and an improvisational task. not easy, where the project participants are a violinist. ren-tran, when it comes to helping children. there

, too, my sore spot is here, so it was very interesting initially. what a performance, what how they tried before that in in principle, they did what was intended. i am really glad that i can take part in this performance, because, well, there is something to say, especially since the performance is full of kindness and such mercy. it can be said that we see in our own way, someone sees in our own way, but in the end we came to a common denominator, but in terms of what is difficult or easy. everything here is at the level of feelings. fire and ice inclusion not only in relationships at rehearsals and on stage inclusion and mutual understanding in creativity everyone should be extremely open and attentive to partners to hear listen to breathe

in unison. i wanted to get from the actors, and their feeling of what kind of movement is suitable here and worked with their internal state in order for the movement to start from the fact that we even worked in silence, because at first there was not even music, and therefore this is an experience for me very interesting. he really is like that and you feel absolutely dissolved in this new production. a test even for professionals. you must be fully involved in the process. can you say openly? your heart is completely naked and you should feel good about your partner. that is, if this coupling occurs, exactly what should happen happens. probably be for this performance at the performance. we've been working, probably since november. but it's such a slow process, you know, and only now, maybe, the last two or

one and a half months there. he somehow already began to emerge into a real canvas, director gennady fomin admits that he himself does not fully know. what will be the premiere every movement at the rehearsal is not repeatable, the staging is unpredictable, as if this sincere performance is touching, yes, goosebumps. i'm just happy now, there are guys , girls, a young man and not a single young man, and who also understand, who develop, who argue, who with their own opinion. and see how they develop. this is a great pleasure and i hope they outgrow me, so with the masters, as with any. we are working. i'm dramatic by upbringing and technological by education by first and the way ballet work. uh, you can see, you can see, the invisible part of their colossal level they are a phenomenon.