The long-term collaboration between director Dmitry Volkostrelov and playwright Pavel Pryazhko continued with the staging of the play called The Committee of a Sad Deity. The first reading of the text took place at the Lubimovka Young Russian Playwrights Festival in 2019. After that, teatre post released its premiere.
Pryazhko's work has always stood out in modern dramaturgy. He tends to choose surprising ways of emphasizing things. The dramatist transfers the meanings from the dialogues to the remarks. In his work, the plot seems to be escaping from the viewer, leaving some things unsaid. It would now be hard to say whether everything listed above is natural to the poetics of the teatre post, or whether this tandem of the director and the playwright already exists as a single artistic phenomenon.
You can meet the characters of the play, Olya and Sergei, on the streets of any city of the post-Soviet states. They are unskilled workers in debt and having little money. Their daily routine consists of going to the bank, the store, and the recycling center. They sort out potatoes and pin the Ribbons of Saint George to their puffer jackets. They take commuter trains, stand in lines, and fight in the shop. And they might even love each other. In such an uneventful life, even a Chinese firework can become a big event.
The Committee of a Sad Deity is both a play and a state. Following the principles of Beckett's Godot, the characters seem to freeze while waiting for something unknown. The state of being caught up in the moment and dilation and compression of time make the text performative: it seems to not let you identify the beginning and the end of an event. The dialogues between Olya and Sergei sound like phrases taken out of context, like when you hear a conversation of people passing by.