Sasha Paz, theater producer

Under the heading "Inner World" we, as you might guess, are aiming to study interesting young people. The third hero, caught in our field of vision, is theater producer and member of the creative group Le Cirque De Charles La Tannes Sasha Paz. We went to the headquarters of "Charlatans" and asked Sasha about how they came up with the Cops on Fire, about new projects in Moscow and Barcelona and about plasticine synthesizers for children.

The backbone of our theater company Le Cirque De Charles La Tannes are people from the Moscow Art Theater School of the same graduation class, with whom I began to communicate around 2006. From the very beginning we tried to synthesize the theater with something - photography, installation, music. In The Cops On Fire, I was a creative producer, let's say. When you do a project, you don't think who you are there. We got together for a year and assembled this puzzle. Later, someone started working with the actors, and I, with musicians and artists, to produce. It all started with the filing of Sasha DZA, who introduced us to Alexander Legchakov. He immediately came up with the idea - I want to be in the theater, write my play and play the main role in it. And we, in turn, wanted to make a bomb, because no one had previously confused the theater with hip-hop and rough cardboard aesthetics of the streets. I have no theatrical education, my first education is a sociologist, then I was engaged in graphic design, problems of modern art, and now I got a master in culture management. I went to Barcelona to study, but with the main goal at that time - to bring there the Cops. And it turned out that there were like-minded people. We made the company Reteatro, connected with meaningful use of the environment, resources and theatrical language, directing it not in entertainment, but in some political statements. Combining a variety of cultures: Eastern, Western and even Russian. Now we are working on the Refugiados project, that is, “Refugees” - we collected stories of people who illegally came to Spain from third world countries, heartbreaking: someone was floating on a raft through the sea, someone was riding in a water tank. In Barcelona there is an abandoned factory where they live, several hundred people, this is a separate world with its bars, cafes and clubs. We want to put the performance there with the involvement of both professional actors and themselves. They want to be evicted, but in Spain it is not so simple: you need to get to the bottom, there will always be scandal, the press and demonstrations. Now we have launched a crowdfunding campaign, which will end on August 10, to stage a performance in September, to release a premiere in October, and then in a more compact form to show in theaters. In Moscow, you think more about some utopian experiments or total total entertainment, and in Barcelona - about the land on which you are standing and the air. In Moscow it is very difficult to find the reality behind a large amount of stone, asphalt, cars and people. You leave the house, button up your shirt and leave the boundaries of your own space. In Barcelona, you go out - and as if still at home: took the water and went to the park. This is what makes you think in a different context. I plan on wandering around between Moscow and Barcelona for the time being, although this is wildly uncomfortable. You do something, you do, you do, and when it comes time to reap, you have to run away to another city to do there, do, do. I have just returned from Nikola-Lenivets, where there was a children's camp. We did workshops on my graduation project in Barcelona: "School of electronic music for children." There is such technology Makey Makey, which allows you to make a musical instrument from any object. We just made incredible synthesizers from special clay. Children make an airplane and then record the sound that it makes: in the end, you start thinking about the sound in a completely different way. We showed three performances all night on our anniversary, and at five in the morning the same tattoos were stuffed in the lobby of the theater. Theater is always a dedication, something sacred. We did this to mark a certain stage. It is very important to look back, turn around and think about what you have achieved. Is it worth it to get a tattoo and go on, or is it too early? Should I move to Barcelona, or go to Nikola-Lenivets?