‘Minsk’ is a wild, surreal theatrical work that follows the life-story of its creator and performer, Anna Zakravsky, from birth to death.
‘Minsk’ combines Anna’s life-story with the story of Belorussian embroidery. The piece takes place in times where what happened, what is still to happen, and what may happen all reverberate into each other; in a space where possibilities, determinations, and lies are embroidered together. The stories are composed of bits of information, many bits of information, too many bits of information, which are presented fastidiously and didactically. Feelings are something internal, private, and personal. Therefore, Anna assigns them the body’s space – the space of theatrical presence itself. For Anna, personal matters are only a tool used infuse personality into things (the crystal ball, the television, traditional embroidery, the neighbors, the partners, and the carpet). The body, on high heels, suffers, exerts and deforms itself for the sake of every image, every action, every syllable, and explanation. Every abstract relation is also a corporeal relation. Every meaning involves the energies of the presence of things as well as Anna’s presence. ‘Minsk’ is a life-story that develops, takes shape, disintegrates, and desires out of love, pain, hope, and beauty. The life-story of a woman, a city, tradition, art, past, and future – a life-story of the present.