dossier: Yury Ruzhyev for VIVA CABARET

Yury and I met this summer while attending Volcano Theatre’s Conservatory. It was a crazy, lovely, relaxing and frustrating time that I am so thankful for. It really was this perfect little escape within the city this summer. I just got off three back-to-back shows and it was so refreshing just to go into a studio and be able to play (even if all of the offered training didn’t necessarily agree with me) without any expectations. 

It was in this atmosphere that Yury and I met. There’s something so valuable about devoting all of your time and energy to study. It allows your mind freedom, lightness, and distances you enough to make connections with what you are learning to what your life has taught you up to that point. So of course, existing in this productive mental landscape, the people you meet become all that more interesting. Yury and I (and some other friends) bonded over diner food and beer between classes while dissecting exactly what it is about this live performance thing we like, we agree with, and what we disagree with. It is intellectual rigour at its best.

I’ve heard so much about this cabaret. Yury was quite exciting to watch in the studio. I can only imagine what it’s like to see him under the lights and in the costumes. 

So, without further ado, I present dossier #26:

yury half

Who are we talking to?

I am a circus monkey. An actor, clown, performer, dancer, director, producer… it’s a lot really, but I love doing it all. Going from one extreme to another, whether with jobs or roles or lovers. Its great to play a mafia tough killer guy or Puck from Mid Summer Night’s Dream during a day and then run to the show to be Liza and Tina for the night. Trained theatre actor, with MBA in marketing. I lived in Bulgaria, Russia, and New York and worked all kinds of jobs from a Go-go dancer and McDonalds team leader to an Executive Director of international travel company…

…oh, you mean? I am Yury Ruzhyev.

What gets you going in the morning?

The fact that I don’t need to do anything, or to be anything till 4 p.m. as I can’t function in the mornings well. On the other hand, a 5 a.m. wake up call and the whole day of filming in front of me will get me going like crazy… but it’s coffee really.

What is your earliest memory of realizing, yep, this is what I’m going to do with my life?

When a was a kid I often played theatre, had curtains up on ropes across the room, changing area, and tons of different changes of clothes, I would have to put on, perform something and run off to change into something new… Look at me now, my show is a lot about quick costume changes, and performing. Weird. I never liked to perform for anyone when I was a child, I was always by my own. But now I can’t live without the live audience. Filming pictures and tv shows excite me a lot, but still not as greatly as the live performance.

But I never wanted to be an actor. Freight train driver was my first and longest dream job as a kid. I still dream to get a train car, turn it in to a traveling home and go all around Canada.

What draws you to live performance? What is attractive about it to you?

The fright, the thrills, the moment of happening and other silly things like dressing room lights, stage wings, curtains. It’s the need to be loved right then and there and the risk that it might not happen.

Basically, I’m asking why you do what you do? Why not another art form?

There are other art forms? Theatre is my next favorite one (although, much of it is dated, dull, and boring, but I take it as a challenge), movies are fun especially if the direction and art is at place. But talking to people from stage is above all, for me, anyway.

yury

Why VIVA CABARET?

The name you mean? Or the genre? The name is the third option and it’s been a road of suffering, for I am horrible with names (my theatre company is called Hooligan Productions, for example). It was Cabaret Show at first, then Yury’s Cabaret and after my trip to Las Vegas, where I got inspired and named it Viva Cabaret, like a tribute to the genre. As for the genre – it’s live theatre, performance, dance, and comedy show. I pay tribute to old time divas, their hits, their lives… and I think it’s important once in a while to get away from your computer or a phone and get into a bar, have a drink, watch a show – face the real life. As in that song (which inspired me a lot):

“What good is sitting alone in your room?

Come hear the music play.

Life is a Cabaret, old chum,

Come to the Cabaret.”

Aside from the 35 Divas you’ll be portraying onstage (!), I’ve heard you’ve got quite a following. Any leads as to who will be in the audience?

It’s amazing how these talented and well known people are so supportive of me. I am very honored and extremely happy they want to come to see me perform. But I don’t want to name anyone, as they are my audience and friends, and they are coming to have fun and be gay /as in happy/. Come to the show and find out.

Do you have a favorite memory from a past, or present, VIVA CABARET?

There are so many, I even wanted to have a show where I would talk about things that happened in the fun, the ugly and the magical. I’d say it’s the difficulties and the impossibles that makes this Cabaret journey unforgettable.

Describe VIVA CABARET in three adjectives, a phrase, or with sound.

It’s anything you want it to be for it’s Cabaret and everything is possible. The sound of mother’s steps coming home, the smell from your childhood that brings the warmth all over you… anything that makes you happy or silly. It’s the place and time when you can fall in love, get inspired, have fun, drink till you are on a pirate’s ship on a sailor’s arms who stole you and broke your heart… come to the Cabaret and live your dream.

Do you have anything else you’d like to share? Photos, videos, links, posters, stories, wishes?

It’s crazy how we can be so available and exposed and still be so incredibly closed and lonely. Here are the links:

my website: http://rushow.ru/

my blog (lots of naked pics): http://ruzhyev.tumblr.com/

my twitter: https://twitter.com/Viva_Cabaret

Video blog and show teaser: https://vimeo.com/user23196121

Thought’s blog: http://maxime-rocsh.blogspot.ca/

I wanted to mention that next year my theatre company Hooligan Productions presents KOMUNKA the play. 12 hours in a kitchen of a communal apartment in Moscow, during the Winter Olympic Games in Sochi, 2014 with four families, six tenants living in four rooms, and something in a box. Collective work based on the idea, characters, conflicts and dialogs outlines created by Yury Ruzhyev, directed by Sky Gilbert, devised and written together with actors.

The final version of the play will be produced during Summer, 2014 and workshop is scheduled for February 18-21, 2014 during and with live broadcast of Winter Olympic Games in Sochi.

cab poster

proudly presenting:

nakedtotemfinal

a field of crowns presents:

A DOUBLE-BILL!

totem.

by Andrew Gaboury

&

NAKED LADIES

by Thea Fitz-James

If you missed totem. in Hamilton, now’s your chance to catch it in Toronto!

Together, Fitz-James and Gaboury bring you a night of honesty, ritual, mythology, story, bias, nakedness and drinking.

totem. is an exploration of one man’s emotional, mental landscape as he confronts his crumbling relationship and is presented with a fantastic manifestation of his ideals. While a work of fiction, totem. was born from months riddled with a crisis of self-confidence. At the end of this time, Gaboury realised what he needed wasn’t what he always relied on, and instead found relief in something completely unexpected. totem. began life as a short story, mostly written by stream-of-conscious, influenced by the performance of spoken-word poetry.

NAKED LADIES is that moment where someone tells you that women are naturally secretive. It’s the moment they say, “Women take off their clothes to forget about their fathers”. It’s locked in the skin; intimate—between the shadow and the soul. For what are we hiding when we show it all? And what does it mean to be truly exposed? Between the naked and the nude, between forgetting fathers and remembering mothers, past sexual stigma and personal secrets, NAKED LADIES weaves personal narrative, art history, and performance theory to ask why women get naked on stage and off. Why, where and for whom?

WARNING: This show contains mature and explicit content.

When?

Dec. 13th & 14th
@ 7pm & 9pm

Where?

hub14, 14 Markham St., Toronto, ON

How much?

$15 general / $10 arts worker & student

tickets are available at the door
-or-
can be reserved online by sending an email to:
afieldofcrowns@gmail.com

dossier: Marie France Forcier of Forcier Stage Works for IN absentia

Slowly but surely, it seems, I’m getting to all of the current and past ADs of hub14. The amount my hub colleagues work is astounding to me, and I feel like I can never keep up with their ability to constantly produce. At least, in terms of this project. I’m happy about what my dossiers can do, but sometimes they feel inadequate as I keep wanting to promote the amazing work folks like Heidi Strauss, Cathy Gordon and Kate Nankervis are doing. This project, however, would get overrun with the same names too quickly, and that’s definitely not the direction I want to take this. I want each dossier to be unique.

I am lucky to be working closely behind the scenes at hub14 with Marie France Forcier. She radiates a maternal energy, one that is always in control and capable of steering the ship safely through the storm. She helps bring stability to what can otherwise easily turn into chaos, and the amount of trust she has in others is admirable. I can only imagine what it’s like to work with her creatively.

Enough gushing, on to dossier #25:

Marie France Forcier

Who are we talking to?

Marie France Forcier, artistic director of Forcier Stage Works (forcierstageworks.com) and MFA candidate in Dance at York University; co-artistic director at Hub 14. Montreal-born and raised, Toronto-based for the last decade. Graduate of The School of Toronto Dance Theatre’s professional training program, performer, writer, pedagogue, road warrior but most predominantly choreographer ever since. Academically researching the expression of trauma and dissociative states in contemporary choreography.

What gets you going in the morning?

Since I started my grad studies while keeping up my professional life? The sheer fear of not being able to stay on top of an ever growing pile of work! …In all seriousness: the excitement I feel about my work and my research.

What is your earliest memory of realizing, yep, this is what I’m going to do with my life?

I was in my first of a three year as a double major in Psych and Dance at CEGEP de St-Laurent in Montreal. I noticed that the director of the dance department and senior dance majors were addressing me with the assumption that I was planning on a career in dance.

I’d always vaguely dreamt of it as I was growing up, without ever allowing myself to believe that I had the chops. Finding out that others thought that my going in that direction was plausible allowed me to get there myself.

Have there been times you seriously question why you pursue this lifestyle/art form? If so, what was it that keeps you in it, or has brought you back?

I never question why I do. The drive is always very present although it constantly renews and redefines itself. There certainly are times when the hardships that come with a career in the live arts seem to outweigh the benefits, but those dips never make disconnect with the impetus.

Why IN absentia?

Three choreographic projects make up my MFA’s practical component: an autobiographic solo in studio theatre, an ensemble work for the proscenium stage and a self-produced dance event including the candidate’s choreography off campus. IN absentia is my off campus production. My choreographic contribution to the program is entitled Levity as IN (absentia); it is a short duet, it explores the experience of dissociative states in the presence of the other, revealing the dissonance that creates for the viewer.

My piece being less than 15 minutes long, and since I had Hub 14 for the event at my disposal, I figured: why not create a mixed program, providing an opportunity for other artists to present new work in a casual setting? Lucy Rupert (Blue Ceiling dance) and Brandy Leary (Anandam) are prolific creators, whom I admire and have know through collaborations on various projects. Heather Berry-MacPhail has been a pillar in my work since Forcier Stage Works’ inception.

Half Second Echo is an emerging collective of recent York dance graduates. Offering them a spot addresses my personal mandate to create opportunities for the emergence wherever I can.

In the year that followed my own graduation years ago, I was blessed with opportunities that kept me active and persevering in a competitive world. I am very grateful to those who provided me with such opportunities; the first year often determines the course of a career; whether the young person will persevere in the arts or abandon. I believe that returning the favor is a good way to make the dance community sustainable, on a micro-level.

Anandam_2013_021
Dancers Heather Berry-MacPhail, Justine Comfort (photo credit: Walter Lai)

What kind of atmosphere do you wish to create with IN absentia?

With Levity as IN (absentia), I am creating an atmosphere where coping mechanisms keep the characters standing. Where “retreating within following an episode of trauma” becomes the new normal. Where they have to share physical space with one other, externally present, internally elsewhere, trapped in a snapshot that may never be successfully processed; in absentia.

The other pieces on the program will bring their own atmospheres.

IMG_0201
Brandy Leary in process for IN absentia

This is part of your MFA thesis work with York University. Did you ever think your work would bring you to IN absentia?

It has been a gradual process. The awareness that my own history of trauma had been seeping through the symbolism in my choreographic work arose within me over the course of 2 years or so, in phases. This insight about my own work led to my decision to dedicate my MFA research to the expression of post-traumatic stress in choreography. The process for Levity as IN (absentia) is a part of that.

What’s your favourite story about working on this project?

Levity as IN (absentia) is a work that has been in progress for nine months now, re-adapted twice for presentation over the course of that period. The most recent one was presented at Collective Space in Toronto, where the walls are curved, and the two dancers were climbing, reaching for unattainable levity, and sliding off walls as a choreographic feature. It was fun to watch, playful despite the contrasting content.

Describe IN absentia in three adjectives, a phrase, or with sound.

An assignment adapted for the better into a community event.

Do you have anything else you’d like to share? Photos, videos, links, posters, stories, wishes?

FSW_IN-absentia