Revisitingskazin Ivan Vyrypaev’s cinema and theatre: rhythms and sounds of postdramatic rap

Abstract

Over the last two decades, the stage director and filmmaker Ivan Vyrypaev has developed his own aesthetic practice, which tests the energy, reception, and affective appeal of the stage performance to forge a new artistic method that is meaningful to a modern audience. Like the notable avant-garde directors before him, he rejects the tradition of mimetic representation and physical verisimilitude, and has initiated a shift to the field of verbal signification – most notably in his rediscovery of skaz – and to the cognition of aural phenomena, thus situating his work within recent academic discourse on sound. His plays and films distinguish themselves from most visual media by their long, descriptive monologues and by the use of music. Verbal and sonic elements, not physical actions or stage directions, vividly describe changes, mutations, disease, transfer states, and traumas of the characters. This article argues that Vyrypaev’s theatre and cinema engages with a 21st-century audience through its resonance with its affective and emotional registers.

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