The performance, in which people with disabilities participated together with professional actors, was shown in Moscow by a German-Russian troupe. As part of an extensive cultural program dedicated to the "cross" year of Germany in Russia and Russia - in Germany, this project is special. Integrative theater project - that's what it's called. The definition of "integrative", familiar to German kindergartens, informal groups, schools, means that children with disabilities study, play and so on along with ordinary children. So it is here: both professional actors and actors with disabilities (HIA) participate. This "special" theater is a unique phenomenon for Russia, in contrast to Germany and European countries, where there are many such theaters and they, as a rule, receive budget subsidies.
The project is called "Remote Proximity". Professionals from Germany were invited to implement it, where the art of people with disabilities has long been organically woven into the cultural life of the country. In society (at least in Russia), disabled people have a hard time. But in order for people with mental or mental health problems to create something culturally and socially significant, it is necessary to look for ways to include them in the life of society. In the last 15-20 years, the creative activity of such people in the EU countries has been recognized as professional. But in Russia, a person with disabilities is perceived as an object of social assistance, and not as a person capable of work and creativity.
The opportunity to try
The project "Distant Proximity", demonstrating one of the possible ways to solve the problem, was initiated by the head of the department cultural programs Goethe Institute in Moscow by Wolf Iro. The performance was staged by the theater studio "Circle II". The premiere screenings took place on the stage of the Moscow Theater Center for Drama and Directing Kazantsev and Roshchin. Why was he chosen?
From the day of its foundation, the CDR has been the center of theatrical experiment. “People should be given the opportunity to try,” said its founder Alexei Kazantsev. In this regard, the project "Distant Proximity" is consonant with the mission of the Center for Drama and Directing.
In Russia, where the struggle for the recognition of people with disabilities as equal members of society has just begun, such a project is unthinkable without thorough preparation. Back in April, a creative workshop was organized, where three professional artists(two actors and a dancer), who began working with the Krug II studio. So the performance is the result of an eight-month intensive collaboration between directors Gerd Hartmann and Andrey Afonin. They have known each other for more than ten years, since Afonin began to get acquainted with European experience and new approaches to integrative theater and invited Hartman and two of his colleagues from the Tikva Theater (Thikwa), one of the most original integrative theaters in all German-speaking space, to a master class in Russia. Theater "Tikva" (in Hebrew - "hope") is located in Berlin and gives more than 100 performances a year.
Gerd Hartmann was born in Munich. A follower of Jerzy Grotowski and George Tabori, with whose work he is connected by many things (gestures, plasticity, pantomime), he represents one of the avant-garde trends German theater. Since 2010, together with Nicole Hummel, he has directed the Tikva Theatre. As for Andrei Afonin, artistic director of the Krug II studio, he has more than twenty years of experience in sociocultural rehabilitation. Afonin the director is a synthesis of the theater of plastic drama and the modern Russian "special theatre".
The play "Distant Proximity" begins with a question, on the one hand, banal, on the other - really exciting for many: "Why do I live?" Context is what we are talking about people with disabilities puts this question into a completely different dimension. By the way, the entire text is written by people with mental or mental health issues. However, in essence, the entire literary avant-garde is an attempt to get rid of the usual structure of phrases and the “given”, well-worn logical train of thought, to achieve a special sound, which for authors with disabilities naturally follows from the peculiarities of their perception of the world.
Improvisation and school
Two naive characters lead the play, immersing the audience in a serious conversation, then suddenly tell a pastoral tale. They try to connect the disparate parts of the whole, giving the global topics discussed a simple life meaning. Actors with disabilities provide excellent improvisational material, professionals organically bring the Russian classical school under it, the dancer offers a full range of means of expression— from authentic dance to butoh dance. This whole complex set of participants determines the originality of meanings and artistic expression. From the point of view of acting, one can say that a kind of synthesis of the systems of Brecht and Stanislavsky is used: the cool alienation of Brecht's dialogues and at the same time the amazing engagement of the actors at every moment of the action.
At a press conference, Hartman admitted: "My theater teacher George Tabori once said that his task is not to make actors out of people, but to make people out of actors. Our extraordinary colleagues taught us a lot. Just being on stage without falling into stereotypical tricks and clichés is great art. Here, actors with academic backgrounds can learn a lot from their special partners.”
I must say that the talent of "special" authors and artists is indisputable. Freedom from cliches, sincerity of perception and passion to be heard and understood produce strong impression. There are people who have understood this for a long time, such as, for example, the wonderful poet Dmitry Kedrin:
Homer was blind, Beethoven was deaf
And Demosthenes is tongue-tied.
But who rose to their level?
Who is used to muses like they are? .. "
Vladimir Anzikeyev
List of additional general education programs
and paid additional educational services implemented
in 2016-2017
Classes are conducted by teachers of additional education: Popova Natalya Timofeevna, Egorova Vera Anatolyevna.
Educational services on a budgetary basis
1. “The ABC of plastic expression. Correctional and developmental classes”, age 10-18 years, implementation period - 2 years, socio-pedagogical orientation, basic level.
2. “Integrated theater studio “Circle I” (basic level), teacher Popova N.T., age 10-18 years, implementation period - 2 years, socio-pedagogical orientation;
3. “Integrated theater studio “Circle I” (advanced level), teacher Popova N.T., age 12-18 years, implementation period - 3 years, socio-pedagogical orientation.
4. " Musical development”(classes in an integrated group), teacher Egorova V.A., age 8-18 years, implementation period - 3 years, socio-pedagogical orientation, basic level.
Paid additional educational services
1. "Creative workshop" Theater projects"Circle I", teacher Popova N.T.,
age from 18 years, implementation period - 1 year;
2. "Workshop of improvisation", teacher Popova N.T., age from 18 years, implementation period -
1 year;
3. "We play and sing" (musical and rhythmic games for youth
with disabilities), short and full courses, teacher Egorova V.A., age from 18 years, implementation period - 1 year.
As part of groups theater studio"Circle-I" - children and youth (11-18 years old) with severe disorders of psychophysical development (cerebral palsy, autism, schizophrenia, somatic, genetic diseases, and others), as well as children from single-parent and large families, poor health, having a psychotraumatic experience.
The purpose of the educational program: personal development in the process creative activity in the theater group; creation of modern, beautiful performances; promoting positive image a person with a cultural disability.
The activity of the integrated theater studio is aimed at solving rehabilitation, educational and aesthetic problems. It includes the following types classes: 
Correctional and developmental exercises
Mastering the language of autocommunication
stage movement
Scenic speech
Acting
"The ABC of Improvisation"
Dance improvisation
Development of visual and other types of perception
Mastering the Basics dynamic composition in collective improvisation
Acquaintance with the history of the theater
choir
Vocal training
Musical improvisation
Distinctive features of the program are: the presence of a correctional-forming aspect pedagogical activity-- focus on correction of the sensorimotor level as basic level development of higher mental functions; the use of musical-plastic improvisational language (the language of the movement and sound of the body is “a language understandable to everyone”, its use as a means of creating a stage image makes it possible to combine actors in a theatrical action different levels psychophysical development -- to create conditions for their integration; activity approach to training, development, education: participants in the theater studio in the learning process are involved in creative activity which allows them, on the one hand, to act as a performer, and on the other hand, as an author-creator, which requires them to be independent, internal freedom, originality of thinking.
The program allows you to combine actors of different levels of psychophysical development in a theatrical action - (create conditions for their integration); the use of techniques of various cultural and historical forms (types and genres) of the theater for the development theatrical activities students; the formation of a reflexive type of behavior among students, regardless of their level of psychophysical development, while reflection is understood as such an indicator of personality development, which manifests itself in the ability to integrate life experience, give a holistic and aesthetic response to a life or stage event, as well as in the ability to relate to it .
ITS "Krug-I" performs at theater venues in Moscow and other cities, is a participant in various Russian and international festivals, including: International Festival"Solar Wave" (Kyiv, 2003), International Festival "Untrodden Path" (Lublin, Poland, 2006, 2010); International Biennale theaters with the participation of people with disabilities (Lodz, Poland, 2008); Festival of Special Theaters "Capacitarte" (Almeria, Spain, 2008); The first Moscow festival of creativity of people with special needs mental development"Thread of Ariadne" (Moscow, 2010); within the framework of the events of the cross-year "France - Russia 2010" performance "The View" was presented in Paris on the stage of the theater Les Chapiteaux Turbulents.
Productions
"The Deer King" - a performance based on the play by K. Gozzi, 1996
"Boat" - folklore performance, 1997
"Wandering Theatre" - project, 2002-2003
"Concert Mosaic" - concert program, 2005
"Magical flute" - musical performance based on the opera by V.A. Mozart, 2001-2006 
"Performance in the museum space" -- a joint project from the State Tretyakov Gallery on Krymsky Val. The goal of the project is to make the museum space accessible to children with disabilities. This educational project carried out in the form interactive tours- performances, from 2007 to the present.
"Do flies have personality?" -- performance-reflection, compiled on the basis of sketches and improvisations of the participants of the theater studio, 2007-2009.
"Look" - musical and plastic performance, 2009-2012.
Currently, work is underway on the performances "Lessons foreign languages", "In the animal world", "Slash".
The integral theater, created by the Greeks at the beginning of our era, became a special way of measuring space in its social significance. He proposed a model for the verbal living of the mystery - higher forms experiences that humans can experience.
The verbal form comes in opposition to the ritualized non-verbal form of experiencing space, and from that moment we can talk about the beginning of a period of awareness of space in people's lives, which was expressed in the scheme of verbal living, in the process of knowing the scheme, and not just in following.
And although the Greeks have already given the world great thinkers and mathematicians (Aristotle alone is worth something), at the level of public consciousness one can speak of a radical change in thinking precisely with the advent of the theater. And here the Greeks, in fact, were the first to set a certain condition, formed the science of studying the measure of a person in the changing nature of being, where the concept of the principle of complementarity, inherent in the nature of the birth and death of a person, was introduced.
The theater set the ideology of the tragedy of man, or the experience of a new and passing in the natural laws of the birth of a person, his living and leaving. The Greek (aka integral) theater outlines, sets before us the boundaries of space and teaches us to live in the laws of these boundaries, to experience the laws of these boundaries. It relies on the understanding of spatial relationships (place, form, architecture) and their relationship with the behavioral character, or rather, the tuning of a person through the prism various forms experiences. That is, for example, love was a certain measure of thought, attunement to the nature of Aphrodite.
We can designate such correspondences as the beginnings of the knowledge of thinking at the level social structure. And this distinguishes them from technical way concentration, which develops in parallel in Chinese theater, and from visualization to Indian theater. In this case, we are interested in the manifestation of complementarity in thinking, verbal comprehension of non-verbal, knowledge of the nature of experience by thinking. The non-verbal submission to the host of twelve gods is being replaced by verbal comprehension, the experience of the forces laid down or represented by these gods. Greek theater integrates into consciousness a non-verbal scheme of submission to space, becoming the art of cultivating thinking, starting the process of understanding what is asked at the behavioral level, which was previously perceived non-verbally.
Comprehension is a measure of verbal effort that keeps processes in space, so to speak, on the verbal plane, on the plane of concentration. We will later observe the development of this not so much in the Roman theater as in Roman philosophy. The Roman theater will switch to forms of manipulating human consciousness, and this will be connected with a sharp development of the experience of power. It will become a tool for managing people and will cease to be integral.
The task of the integral theater is a personal verbal certainty, which is played in the heads, turning into a game of thought with meaning. This resonates, this action, this is a battlefield for the formation of thought, and not just a response to impulses (non-verbal), this is the integration of one's consciousness into the nature of not just being, but experiencing being. That is, it is not the brain that reacts to the processes, but the processes become an effort of cognition by the brain. Integral theater integrates a person into the process of resonance with the nature of his being, leading away from blind obedience, following non-verbal. Although it must be admitted that in the future, verbality in the human brain lost to non-verbality in the most important thing - a decrease in the frequency of brain functioning.
However, with the advent of the Greek theater, man began to participate in the formation of his world order, and not just follow. It can also be said that the theater has formed a previously unknown philosophy or even a policy of life - a policy of improvement. human qualities, and not just the acceptance of one or another given by nature. Perhaps it was an attempt to build the social existence of people according to the principle "life is a game, life is a theater." That is, the theater was originally created as a science, and not as a spectacle. It was a real chair of ancient Greek Olympus.
Another, parallel task is also possible: the Greeks wanted to consolidate the nature of the feminine principle, the cult of Pallas Athena, foreseeing the destruction of non-verbal values and the ability to tune in to higher worlds(which would later be called paganism). This happened with the advent of Roman rule, although not immediately.
Thus, Greek theater tried to legitimize not only experiences, but also the divine status of a woman in society as the basis of experiences - both in form and in essence. Teatr - te atrium - atrium dei: theater as a place to keep in touch with God. In general, there is a change of face, and the non-verbal status of Zeus is replaced by the primary human verbality (aka sensuality) in the face of Dionysus. The integral theater introduces an interesting cliché - the deification of experiences. The stamp of Zeus is replaced by the stamp of Dionysus. Or maybe this is not a counterbalance, but a change in the integration of people into the nature of the macrocosm. The birth of Dionysus from the thigh of Zeus is a change in the conditions for the appearance of a god, and therefore his status.
Let's trace interesting fact. First, the ancient gods were shaped by space, then they created themselves, then through paired connections, then through individual vessels of the body, in which this or that type of experience is embedded. The hip is an experience of movement. Even if we consider this not sequentially, but in parallel, where each god is one or another integral field, and where its own principle of birth still looks curious.
And then Gaia, Pallas Athena, Aphrodite, Demeter, Artemis, Hebe, Persephone receive a new understanding, generation, where they can also be considered as perfect women according to the principle Greek heroes led by Apollo. However, it would also be correct to call the Greek heroes Perfect.
Hercules, Odysseus, Orpheus, Achilles - Perfect, who are united by a way of penetrating into a particular space. Their distinctiveness lies in the way of tension that these heroes can create. Hercules, in fact, is the knowledge of the twelve tensions, and his twelve exploits are the knowledge of penetration into one of the twelve integral fields.
But, one way or another, female deities and principles were demonstrated primarily by men, using masks. And, of course, it was necessary to express the power of attunement to experiences, and not just a demonstration of experiences. Thus, we have a clear structure of the integral idea of the ancients about the functionality of space, divided into four conditions, four levels of the cone leading to the altar, which was the stage, and where twelve rays converged (separation along the solar circle). Inside - nine ledges according to the principle of the mystery of Dionysus.
The first row of the theatron, intended for priests and rulers, was special. The audience was divided according to the nominal principle. In fact, one can call the integral theater a kind of laboratory.
But since the construction of the integral theater did not last long, the Greeks could not bring this idea to completion. The Romans replaced the Greeks. The theater became a spectacle and lost its integrality, everything was reduced to the low integral equivalents of generation and death.
It was only thanks to the Celtic bards and Occitan troubadours that the idea of integral theater was revived in the Middle Ages. And even then not fully, because the understanding of what non-verbality is, its corresponding ritualization - all this has gone down in history. But again we see the idea of complementarity, the female principle of searching for higher experiences. True, mystery dramaturgy is already built around Christian values, except for such integral episodes as, for example, the formation of dance patterns on the principle of flamenco.
We notice that integrity here also leads a woman to tasks related to construction. inner world, and a woman secures for all time the right of independence, play, playing with her nature, which, to one degree or another, throughout the entire post-antique world, a man usurps.
At the same time, the integrality of actions is based, as it was originally, on the dimension of Olympus, which only classifies the nature of being through the prism of the twelve highest experiences (heroism, tragedy, drama, lyricism, populism, satire, comedy, eroticism, adventurism, etc.). In the Middle Ages, the theater of action was built around the idea of the twelve apostles, led by Jesus Christ, and here we already see an attempt to return to non-verbality, the basis of which is faith. We put Asian destinations aside, as they are based on .
Comprehending the experience of the integrality of nature in the integral theater, a person tried to verbally learn to experience divine deeds, and in different forms perception and participation, and tried to understand the mechanisms of spatial creation. But what is the measure of this complicity? This measure is unique, it is formed by the connection of temporal finite and timeless infinite processes, in which the temporal constantly dies or frees us from itself, and the timeless resurrects. The measure of experiences is set, inscribed in the laws of integration of the space, which is represented. In the ancient Greek theater, this measure had a meaning as Dionysism, a measure of penetration into space through awareness, absorption of experience.
So, the measure of experiences, inscribed in the laws of space integration is called Dionysism. Dionysism is a measure of measurement between the temporal and the timeless, that is, it is a temporal-spatial characteristic that fixes the process of experiencing, if you like, the process of excitation, in which absorption or assimilation of energy of a higher order occurs. This fermentation is the role assigned to the choir. Horus is technological process fermentation. It is a way of linking us to the forces of a particular field. After all, it is not enough to introduce a great note, it still needs to be assimilated.
This is a measure of ecstasy, this is a certain resonance value. The measure of one dying and another being resurrected. And here, of course, the Greeks are not new - the Egyptians went through the same thing, but they did not offer a measure linking the verbal with the non-verbal. And we are no longer talking about the mysteries, where the basis of the cult is non-verbal, but about the integral theater, where the basis of the cult was verbality, mentality. The standard becomes the blood of heaven, or the blood of Dionysus, or wine. The systemic load here is unique - blood is juxtaposed with wine.
And after all, what depth is laid in the ideas of this comparison! Human blood is temporal, and spatial timeless blood, represented by the vine. The blood of the great vinedresser, which is symbolized by the same Dionysus. But here it is important to understand the meaning and temporary stay, to the status of a timeless experience that pins consciousness to the head - like the pins of "Euterpe".
Questions and answers
Man is revealed to the world. It is like the emergence of a new actor on the stage. What are the NATURAL laws of human birth in Ancient Greece? What are the laws of human birth in modern conditions? What is the prerequisite for the birth of man? I am interested in the story on the topic: I SUDDENLY (?) needed those who could give birth to me and I went to look for them.
Not all answers need to be revealed, but this should not deprive us of working through the questions.
The depth of this article will have to be assessed more than once. I consider it one of the key ones. We were brought to it for quite a long period of time. In my opinion, it brought together moments of transition, when a person felt himself a single whole with space, a part of space, and when he felt separated from space, when the connection, the bridge connecting man and space, collapsed. It was then that a person went along the path of knowing good and evil, knowing duality. And this is just one of the aspects covered in the article. How true, I will not venture to write conclusions, but impressions concerning the relationship between man and space?
Yes, that's right, but it all started earlier. And, in fact, the mysteries can be considered as the beginning of the theater, only on a non-verbal level.
Clarification on the previous question. I consider these questions important, because the topic of fathers and children is always relevant, one of the strongest experiences of a person Sometimes, in conflict situations between parents and children, one has to hear a dialogue in which parents urge children to pay more attention, money, time, care to them on the basis that when the children were small, their parents took care of them, fed, watered, and raised them. To which the children could answer that they did not ask their parents to give birth to them. Can the choice of parents during generation be a matter of chance, or are there laws for the generation of a person on Earth, and which ones? What role does space play in the creation of man?
This topic is complex, and first you need to deal with the education of not only children, but also parents, in order to even speculate on the topic of this issue!
Can we say that the integral theater materialized the group of lanthanides in the periodic table in time space?
It's nice to see that people can see that kind of juxtaposition. This is a rarity today. The very course of your thinking is no less interesting than the ideas of the ancient Greeks. But, of course, direct comparison was not in the tasks of that reality.
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MUNICIPAL EDUCATIONAL INSTITUTION FOR ADDITIONAL EDUCATION OF CHILDREN
CENTER OF CHILDREN'S CREATIVITY "TORCH" OF THE WORKING VILLAGE OF KOLTSOVO
NOVOSIBIRSK REGION
EDUCATIONAL PROJECT
"Integrative Theater as a Means of Socialization and Rehabilitation of Children with Developmental Disabilities"
Aleftina Pavlovna Tikhonova
Koltsovo–2009
Project summary
The project is being implemented by MOU DOD CDT "Fakel" r. the village of Koltsovo as part of the work of the integrative theater for children with disabilities "Koltsobinchik". presenter idea project - to make the life of disabled children not survival, but development. aim is the social adaptation of children with special needs by means of integrative theatrical art, the formation in society of an adequate attitude towards people with special needs.
The idea of this project arose because of the political and social situation that has developed in our society, therefore, the positive results of the implementation of this project may be much more important for society than for children with disabilities themselves. The mission of disabled children on Earth is to make this world kinder, and by implementing this project, the author makes his modest contribution to the great cause of humanizing society. The essence of this project is to prepare disabled children for life in society through their studies in theatrical art, acquaintance of society with the original art of disabled people through the participation of the Koltsobinchik Theater in concert programs and non-disabled-friendly festivals through co-productions. As a result of the implementation of this project, disabled children should not grow up as "social disabled", and society should be ready to accept them.
Formulation of the problem
The problem of inclusion in the microsocial environment of people with special needs, as world experience shows, is universal. Social politics in Russia, focused on the disabled, adults and children, is being built today on the basis of the medical model of disability. Based on this model, disability is considered as an illness, disease, pathology. Such a model voluntarily or involuntarily weakens the social position of a child with a disability, weakens his social significance, separating it from the normal healthy children's community, exacerbates its unequal social status dooming to the recognition of their inequality, lack of competitiveness in comparison with other children. The consequence of the orientation of society and the State to this model is the isolation of a child with disabilities from society in a specialized educational institution, the development of his passive-dependent orientations. However, problems social adaptation and rehabilitation, in view of their relevance, are widely and diversified developed, mainly by defectologists and social workers.
At all times and among all peoples, music, singing, dance, drawing, sculpture, theater and rituals, mysteries and much more have been used as a “means of healing” for various diseases and conditions. Modern psychologists and defectologists are increasingly using art therapy as a natural and gentle method of healing and developing the soul and body through artistic creativity. Many years of experience of the author of the project on working with children with disabilities showed that one of the most effective ways social adaptation is an integrative theater. Integration here refers to the joint creativity of disabled children and healthy children and adults. In addition, the integrative theater turned out to be effective tool rehabilitation, including medical. Howard Buten, writer, physician, psychiatrist, worldwide famous clown Buffo, one of the leaders of the French integrative theater Turbules, said: “The results are so striking that after several years of training disabled children in such a theater, parents generally begin to doubt whether the diagnosis was correctly made, whether the child was sick.”
Joint creativity gives a lot to both healthy schoolchildren and children with developmental disabilities. Integration contributes to the formation in healthy children of tolerance for physical and mental disabilities, a sense of mutual assistance and the desire for cooperation. In children with special needs, joint creativity leads to the formation positive attitude to their peers, adequate social behavior, more fully realizing the potential of development and learning.
In the autumn of 2001 and 2004, the 1st and 2nd All-Russian festivals of the "Special" theaters of Russia were held in Moscow. (“Special” means with the participation of people with special needs). These festivals showed that the movement of "Special" theaters in our country mainly embraces disabled children from boarding schools and specialized schools, and the so-called "home" "unorganized" children with disabilities are in social isolation which is also a pressing issue.
The implementation of the project "Integrative Theater as a Means of Socialization and Rehabilitation of People with Developmental Disabilities" makes it possible to solve such problems. The relevance of such work (organization of an integrative theater) within the framework of locality was due, on the one hand, to the need for it on the part of families with disabled children, on the other hand, the lack of specialized institutions for working with disabled children on the territory of the village. The project is focused mainly on working with children with disabilities who do not attend institutions general education, because children attending schools, as a rule, master the main educational programs with great difficulty. All their efforts are mainly focused on education and treatment, and there is no time or energy left for additional education. For "disorganized" children creative work is the only way to realize yourself.
As distinctive features This project has the following aspects:
· Inclusion of theatrical activities (from work experience) in the system of work with disabled children within the Novosibirsk region;
· Orientation of the activity of the integrative theater to work with the public;
The association in the theater group of disabled children with various diagnoses without age restrictions and healthy children and adults (relatives of disabled children, professional and amateur theater groups, dance groups, creative groups, pupils Sunday School and so on.);
· Adaptation theater repertoire for productions of a group of children with disabilities, as well as the author's development of scenarios and the participation of students in the development of scenarios;
In December 2007 - "Koltsobinchik" - the winner in the nomination " acting skills" at the XI Omsk festival of creativity of children with disabilities "Overcoming".
In May 2008 - finalist VII International theater festival"Untrodden Stezhina" Lvov (Ukraine).
In August 2008, the Koltsobinchik Theater represented the Novosibirsk Region at the All-Russian Festival "Together We Can Do More", dedicated to the 20th anniversary of the All-Russian Society of the Disabled (Moscow).
In October 2008, the Koltsobinchik Theater was awarded a diploma "For the feat of serving the theater" of the experimental festival of mini and mono performances "Small Academy - 8" (Novosibirsk).
In November 2008 - laureate district festival children's creativity"Creation of my soul and hands" and laureate of the 15th City festival of children's creativity "We are talented" (Novosibirsk).
In December 2008 - "Koltsobinchik" - II degree laureate in the nomination "theatrical art" of the XII Omsk festival of creativity for children with disabilities "Overcoming".
In 2007, the head of the theater Aleftina Pavlovna Tikhonova was awarded a diploma of III degree VII All-Russian competition teachers of additional education for children "I give my heart to children."
In 2007, disabled children - artists of the Koltsobinchik Theater Alexei Skvortsov, Mikhail Semenov, Olga Kiryanova, were awarded nominal prizes science city Koltsovo for achievements in the field of culture, Sasha Lityagin was awarded the governor's scholarship for children with disabilities gifted in the field of culture and art, and Dima Tutov was awarded scholarships from the charitable public fund"Our day". In 2008 Dima Tutov was awarded the Governor's scholarship for gifted disabled children.
On average, the Koltsobinchik Theater performs 15 to 20 times a year.
Theater with the participation of actors with disabilities is an original phenomenon. And he must look for his own ways, and not imitate the usual modern culture samples theatrical creativity. As paradoxical as it may sound, a special theater is not a theater of limitations, but a theater of possibilities - in the search for additional opportunities for actors, the director of such a theater, its teachers, in fact, are working with reserves human body, psyche, intellect. Such a theater returns us to the origins of theatrical culture, helping to regain forgotten values, and contributes to the renewal of modern culture.
All-Russian Festival of Special Theaters Proteatr
It takes place every three years (2000, 2004, 2007, 2010, 2013, 2016) - this is an unprecedented project in Russian culture.
The festival presents the best examples of theatrical art of people with disabilities that currently exist in Russia and abroad. The festival collects and analyzes information about numerous special theaters in Russia, without dividing them by the nature of disability, degree of professionalism, genres of performance.
The participants of the festival are theatrical groups, in which people with almost all types of functional disorders take part: visual impairment, hearing impairment, intellectual disability, musculoskeletal disorders, emotional disorders, somatic, genetic and mental diseases, as well as their healthy peers seeking a new understanding of life.
The purpose of the festival is to create a platform for creative rethinking of reality and active creation of the future. We strive to unite healthy forces society, regardless of national, political, religious and any affiliations for the creative rethinking of reality.
The art of people with disabilities is not disabled. A special theater brings us back to the origins of culture (of the theatrical phenomenon), helping us to rediscover the values we have forgotten; it multiplies the treasures of culture, and therefore contributes to the general renewal.
Brother, Chang
Give me one more second, Danzamobile
Look, ITS Circle
And here in the Novgorod region ..., Gesture
Imaginarium, Hope
Whoops from the depths, Lik
Our Marshak, my joy
Waiting for Godot, Me and YOU
Another land, Nedoslov
On the planet, Co-Being
Dan ando Com a Diferen'a
Festival of special theaters “Proteatr. International meetings”
Since 2015, the annual subsidiary project “Proteatr. International Meetings is a joint project Theater Center them Sun. Meyerhold and ROO STR "Circle".
For three days on the stage of the CIM, the festival presents performances by foreign groups and master classes from leading experts from inclusive theaters.
By implementing an international dialogue in the field of special theater, we confirm that technologies in the work of inclusive teams reflect fundamental laws development of culture - working "at depth" specialists of special theaters meet outside of international conflicts and competition.
Unlike All-Russian festival there is no video version contest here. In accordance with the theme of the year, the organizing committee of the festival invites teams to participate in this dialogue. After each performance, discussions with the audience, an international seminar is held within the framework of the festival.
Dramaticules, Theater Du Cristal (Paris, France)
Slash/Slash, ITS Krug (Moscow, Russia)
Obsolescencia programada, Fritsch Company & Fundacion Psico Ballet Maite Leon (Madrid, Spain)
Miracle on Wheels, Ability Unlimited Foundation (Delhi, India)
