Plasticine

Sigarev, žiak Nikolaja Koľadu, vrátil na scénu súčasný život. Osviežil divadelný jazyk živou rečou ulice. Ako rukavicu, ako ružu, ako horiacu zápalku hodil nerozvážnu úprimnosť a nemotornosť autentickosti.(...) Kiril Serebrennikov nevyužil ani jednu šancu urobiť z Plastelíny prudkú erotiku alebo kričiacu sociálnu hru. Namiesto toho rozpráva o krehkej strune ľudskosti v štrnásťročnom chlapcovi, ktorého znásilnila matka a potom ešte dvaja chlapíci, a ktorého za normálnosť a adekvátnu reakciu na ohavnosť života „ubíjajú“ na každom kroku.

Jekaterina Vasenina: Dočkali sme sa? Novaja Gazeta, 21. 5. 2001

Sigarev, a pupil of Nikolai Koliada, returned contemporary life to the stage. He refreshed the theatrical language with the use of lively street talk. He threw thoughtless frankness and the clumsiness of authenticity at the audiences as a glove, as a rose, as a burning match. (...) Kiril Serebrennikov did not change Plasticine into hot-tempered eroticism or a shouting social drama. Instead, he is talking about the fragile string of humanity in a fourteen year-old boy who was raped by his mother and then two other guys and who is „beaten" at each and every step for his normality and adequate reaction to the monstrosity of life.

Jekaterina Vasenina: Have We Lived to See? Novaja Gazeta, 21st May, 2001

Hopeless life and desperate death of a young man in a nowadays socially and morally plundered Russian country town, a cruel play staged in a cunningly aesthetising form, a wonderful ballet about animal cruelty.

Martin Porubiak, SME, jún 2002

Today Plasticine means cruel reality, strong provocation, a trampoline for the young, an explosion for the theatrical Moscow. (...) The director belongs to the category of fervent instigators with uncontrollable imaginations, but he cast Plasticine with a mathematical accuracy. This is probably the first theatre project in Russia for which a casting was held. (...) The Plasticine shocks from the very first moment – a coffin is brought out, then a teacher crams her head into a urinal. This is immediately followed by a spectacular scene – masturbation in a cinema.

Marina Rajkina: People from Plasticine. Moskovskij komsomolec, 23rd January, 2002

It was great fun. I had to help the actors get used to the material, so they wouldn’t consider it to be something shameful, lewd. They had to enjoy it. Thereby we talked about very serious topics – about death, children... Andrej Kuzičev and Serioža Muchin found inspiration from the lives of young junkies in the underground. And Chajev observed: “Kirill, you brought some theatrical rubbish and now all of us are scoundrels. What are you actually creating?” “And what are you creating?” I replied. I asked the actors for maximum sincerity because such a text cannot be read insincerely. (...) I think that theatre must be on the verge of bearability, when the spectator is restless and contemplates: ‘They can’t be doing this? They did it! Unbelievable!’ The thing is that in this moment the wave of shame must not roll over the audience, but connect it to the same level of feeling

Kirill Serebrennikov