World Monitor Magazine June #3 - Page 90

ART great artists, to remain grateful to the space from which you came from, to be glad that your theatre, ARTiShock for example, still remains ARTiShock. Julie: I guess, you remember how I told you that I’ll never let you put an end to theatrical business, and that ARTiShock must continue. Galina: This could be a story for a separate conversation, but in this sense I could talk about Nastya Tarassova for another two hours. How at the time of my weakness and weakness of Veronika Nassalskaya, Nastya took it in hand to create such a theatre. When people somewhere in Russia talk about what we have, I’m told that I’m like ‘cheese in butter’, and I agree. After Novosibirsk, I especially understand this. Julie: I think, this is the product of your colossal work and well-defined intention, 84 world monitor your character that doesn’t allow you to give up, and this is what gives an opportunity to o thers (Nastya) to reveal them in such a power as they do. This is also a director’s talent, probably – to see in life manifested a person who can become a fighter. Galina: I believe that there is certain energy in the ARTiShock Theatre. Perhaps, it sounds like a heresy in terms of a norm. Here we do not become personal, but talk about a certain ARTiShock energy, a power that helps. Julie: But it’s all you, a part of each of you who has created this space, built these walls, put in the soul. I think you are more than colleagues, you are partners. In today’s world this is a rather complex concept. This partnership creates ARTiShock – a terrific experiment started so many years ago and continuing successfully today. It seems to me that there is no person in Kazakhstan who does not know about ARTiShock. Galina: We have a very strong managerial staff, and I trust them. Some people have said we are little known. This year, more people have learned of us though, thanks to certain plays. Julie: I think the main challenge for modern theatre is determined by inconsistency between two terms: theatre and business. The theatre is not able and has no idea how to earn money. Business knows how to earn money. It has a very high need for art and spirituality, which the theatre can give. But there is no dialogue and mutually beneficial intersection. I do hope that your management team will conduct some kind of experiment and bring positive changes to this issue.