Faces of LIK
Our performances induce people to reconsider their vital values.

(Interview of Liliya Sevastyanova from the article published at the site of Swiss Cooperation Office (SCO))

It is written much about the integrated Motion Theatre LIK and its leader Liliya Sevastyanova. Materials appear in press practically after each performance. We have decided to not repeat and talk to Liliya Sevastyanova only about one project which has been carried out in cooperation with Culture & Art Programme of Swiss Cooperation Office (SCO). The question will be about the project "Popularization of performances with participation of people with features of development in the children's and youth environment" during which realization it has been restored and submitted to public five planned performances and it has been created one new plastic miniperformance with use of texts in French. We have started our interview from the most important question which is original "corner stone" of successful cooperation with SCO.

- In Your opinion, as far as there corresponds Your project to problems of the Culture & Art Programme of SCO?
- I think, that our project - «Popularization of performances with participation of people with features of development in the children's and youth environment» fully complies with problems of the Culture & Art Programme of SCO, since includes the most important components of art: artistry, spirituality, social aspect.

- What responses of Your partners under the project?
- Our basic partners - spectators, their reaction is always visible, is roughly splashed out after performance. And then during several days after each representation spectators continue to call and thank by phone. The most important, it that if once the spectator comes on performance then he necessarily comes back to the following representations already with friends and native. Some spectators - invalids adopt our experience, for example, guys on wheel-chair from an orthopedic boarding school, having seen performance of our dancers on wheel-chairs on January, 7, 2009 in Hotel "Dedeman", also have started to try dances on wheel-chairs in their boarding school. Headmasters of the specialized Liceums and Boarding schools who bring their pupils on our performances, admire and all time ask to invite them to our performances, and also to accept their graduating students in our theatre. The jury of theatrical competition of Francofoniya on which we have presented one of performances of the project, highly has appraised it. Our partners are as well parents of guys-invalids who mark the obvious art-therapeutic effect existenting to their children. After each representation the structure of our theatre replenishes, that speaks about success of the project, and that there are new partners.

- Please, tell us about participants of the project …
- Participants of the project can be divided into two categories:
The first category is participants of performances: 35 actors and pupils of the integrated Motion Theatre LIK, more than 20 persons from which are invalids.
The second category - about two thousand spectators: the families, pupils of schools and special boarding schools, members of public organizations, people with physical inability.

- In Your opinion who has profit from the project?  
- I am sure, that the profit was received by all. First of all, actors with the limited opportunities.After all physical inability is more the social concept, than medical, therefore, when the hindrances dividing invalids from other people disappear, the sensation of the damaged, ill, unfortunate person also disappears.
Many spectators admit, that performances have forced them to reconsider their vital values.
Such art is necessary not only for separate people and groups, but also for improvement of a society as a whole. It is impossible to limit volume of the project by several hundreds immediate spectators. Publications of mass-media including international, about performances have increased this audience repeatedly. Kind, strong influence of performances with participation of invalids especially visibly on children. Before performance they become into the theatre with noise, pulling each other, as on changes at school. After performance they become silent, thoughtful with a deep intelligent sight. One spectator has told, that after performance her 10-years son has told: probably, we live also to help these people. Many adults see an opportunity of aesthetic and moral education of children in these performances. As well many young people which have lost taste by a life, before the beginning of performance sit in an armchair, whether hardly legs having put on a forward seat, and then do not notice, how action involves them and induces to rethink the relation to a life and to people.

- What age of participants and spectators?
- The age of participants and spectators is rather various: so, the age of participants of performances - from seven till forty three years, spectators - from five years and older. As the national structure of participants and spectators of the project (Uzbeks, Russian, Tatar, Korean, Kazakhs, Ukrainian, Jews, metises) is various also.

- Were used in Your project own ideas of participants?
- The basis of all our creative activity is made not by ideas and imaginations of the director, but just those gestures, movements, dramaturgic turns which are born at our actors during improvisation. Therefore it is possible to tell rightfully, that all our guys, basically, authors of performances too. They understand and appreciate it, therefore they concern to creative activity with the big responsibility.

- Is there a back coupling from the main addressees of Your project?
- The back coupling is a reaction and responses of spectators. Always it is a lot of spectators, places are not enough even in the big halls.

- How do You think, whether the purposes of the project are achieved?
- I think, that all purposes of the project have been achieved. It has been restored and submitted to public five planned performances and created one new plastic miniperformance with use of texts in French. Performances have been submitted on the best stages of capital theatres that has attracted to them a lot of spectators - about two thousand person.
Performances and publications about them in mass-media help to change the relation societiy to invalids gradually, to erase borders which exist between people with physical inability and without, to pull together them by means of art.
The life of invalids became more active, filled creativity, creation.
To the professional actors working with our invalids basically as volunteers, during realization of the project has been rendered financial support.  

- Whether it was possible to participants of the project to come into new contacts, including to representatives of other countries?
- For last three years our theatre participated in four international festivals, in two of these cases - in France and Russia (Moscow) represented performance the "Azimuth", which created due to support of the Culture & Art Programme of SCO. I will note, that has been devoted a lot of publications in national and foreign mass-media to the project. New direct contacts to colleagues by the integrated dance in the USA are established with support of Embassy the USA and the new project which has been carried out with support of Embassy of Italy.

- Whether during realization of the project it was possible to present the information about of various cultural groups?
- « The integrated Motion Theatre LIK» unites different cultural groups. There are professional actors, young people with physical and intellectual physical inability and their healthy coeval.

- In Your opinion, how participation in the project has affected professional skills of his participants? Whether participants of the project and spectators have received representation about modern directions in art? About traditional directions of national art and a cultural variety?
- One of main objectives of our projects with invalids is their preparation for professional work at theatre. And, certainly, such experience as performance on the best stages of Tashkent and abroad - is difficult for overestimating.
The modern choreography lays In a basis of our work. The modern approach to the dance, do not basing on ready forms and scenic stamps, and on a spontaneous birth of movement during improvisation,more truly. Also in each performance necessarily there is an ethnic material at the stylized kind. And performance "Azimuth" is all inspired with national culture of Uzbekistan. Many spectators speak, that performance causes the big love to the Uzbek country, traditions, culture. One more important point - all our system of creation of performances and preparations of actors is innovative

- How do You think, have received participants of the project representation about the social responsibility?
- I think, yes. It is necessary to add, that many rich people after viewing our performances start to be engaged in charity as for our actors, and in general.

- Whether, in Your opinion, owe the project have continuation?
- I am sure, that necessity of continuation of this project in anybody does not cause doubts. It is obvious, that such projects help creation without barrier, and means, a democratic society. Them require, both invalids, and all society. So, it is necessary to carry out such program on a long-term basis.

- Whether the given project can to influence a situation in other countries?
- Certainly, can. We are in constant contact to foreign colleagues which very much are interested in our work. I shall result only one phrase from a response of the doctor of psychiatric hospital "Sezam" in France after employment which we there have carried out with their very difficult patients: « I Thank you for quality of work which so seldom meets presently ».

 

Link to original the article published at the site of Swiss Cooperation Office (SCO)