On February 3, the Kazakh National Academy of Choreography hosted the presentation of the experimental performance The Raft of the Medusa, created by the Instrumental-Physical Theater in collaboration with the Academy.

"The main feature of this performance is its unique genre, in which musicians deeply engage with contemporary dance, becoming protagonists of the stage action. They communicate with the audience and each other equally through movement and sound," says Boris Zhilinsky, the author of the production and artistic director of the Instrumental-Physical Theater.

The performance intertwines Antonio Vivaldi’s Concerto for Four Violins in B Minor, RV 580 with Théodore Géricault’s painting The Raft of the Medusa, inspired by the tragic shipwreck of the frigate Méduse off the coast of West Africa in the early 19th century. Musicians and dancers reinterpret the storyline through the lens of contemporary global crises, migration, and the search for freedom. "The search for new forms of movement and means of expression is a crucial foundation for the development of art as a whole. Music and sound are integral parts of dance. Musicians, as artists who deeply and sensitively perceive sound, hold great untapped potential for new forms of movement. This project opens new horizons for musicians, dancers, and musical theater as a whole. As an institution dedicated not only to preserving traditions but also to exploring new artistic discoveries, we were excited to support and partner in this initiative," says Bibigul Nurgalieva Nusipzhanova, Rector of the Kazakh National Academy of Choreography. The performance was developed as part of the Contemporary Dance Laboratory for Musicians and Dancers, held from January 21 to 26, 2024, at the Academy. The laboratory was led by choreographer Alexander Frolov (Russia), a three-time nominee for the Golden Mask award and choreographer of projects at the Context. Diana Vishneva festival.

"This is already our second project with Boris, where musicians explore contemporary dance and begin interacting with one another and with dancers through movement. The magic of these projects, for me, lies in how deeply and wholeheartedly the musicians immerse themselves in the physical challenges, how their eyes light up, and how an atmosphere of sincerity is created on stage. The musicality of movement is a key component of dance, and musicians, like no one else, can embody this principle in motion. The interaction between musicians and dancers leads to profound revelations, truly bringing something new to the art form," says Alexander Frolov.

The project featured eight musicians and three dancers. A distinctive musical element was the integration of Kazakh folk instruments (zhetygen, dombra) into Antonio Vivaldi’s score as part of the basso continuo group. "Incorporating Kazakh folk instruments into the fabric of Baroque music offers a fresh perspective on well-known compositions. These instruments have their own unique timbre, character, history, and technical features. This is an important contribution from Kazakhstan to the development of global classical music," notes Diyar Kassenov, the project’s musical director, senior lecturer at the Kazakh National University of Arts, artist of the Kazakh State Symphony Orchestra, and concertmaster of Philharmonia der Nation (Germany).

Reference: The Festival Avignon-Off is one of the largest theater festivals in the world, held annually in the French city of Avignon alongside the official Festival d’Avignon program. Founded in 1966, it has grown into a global platform for independent theater, bringing together hundreds of companies and thousands of artists from around the world. The festival hosts more than 1,500 performances daily, with a total of over 6,000 productions throughout its duration. Held every July for approximately three weeks, Avignon-Off has established itself as a leading venue for discovering new theatrical forms and talents, as well as a key meeting point for industry professionals and theater audiences.