Aut viam inveniam aut faciam. Эскиз о пространстве в драмах Ивана Вырыпаева

Abstract

Playwriting can be divided into two schools in Modern Russian: Moscow (Teatr.doc and Praktika) and Ural (Kolyada-Theater in Yekaterinburg). The most prominent representative of the second one is Nikolai Kolyada – the master of presenting the cruelty and everyday harassment of a lower social class. Ivan Vyrypayev is one of his brightest "students" who described the hell of the "mauled Russian soul" in a similar manner. "The theater is a temple for him. And he is a faithful architect and God in one person for this temple." In the work of Vyrypayev we can find the same type of character – crippled by the world and/or by himself, surviving modernized Weltschmerz, a protagonist who is seeking for the answer. Characters of his playwriting which became symbols of a new Russian drama are: drug addicted (Dreams), schizophrenic (Genesis 2), the murderer (Oxygen), man-eater (July), haunted girl (Delhi Dance), alcoholic (Valentine's Day), visionary (The City Where I Am). Vyrypayev, who is a likeable man with the delicate beauty of a sick boy, wants to deepen his knowledge of metaphysics. He does it with grace by its complete denial. Gruesome stories, vulgar language, pop culture forms, trivialization of life, human frailty - all his dramas seem to be woven out of the compilation of these expressions. He tries to get away from the classic genre and limits of the role of psychology. He adheres to the idea of the text as to the highest instance.