TOTALITARIAN BODY

THEATRE /// DANCE /// PERFORMANCE
                                                                                         

BIOGRAPHY

Anton Rudakov was born in St. Petersburg, Russia. He received his dance education at the Vaganova Ballet Academy. In 2000 he started working at the Boris Eifmann Ballet Company in St. Petersburg and in 2002 he joined Aalto Ballet Theater in Essen, Germany.  

From 2007 until 2014 he has been a member of the State Theatre Ballet in Wiesbaden under the artistic directorship of Stephan Thoss. During his last season there, he participated in several International Competitions for choreographers and won various awards, such as the Golden Butterfly at the International Dance Festival in Skopje, the production Award in Berlin, and in 2016 the "Pretty Creatives" award at the NW Dance Project in Portland, Oregon.  

In October 2017, Anton Rudakov completed a master's degree in performance studies at the University of Hamburg. Since graduating, he has worked on various artistic projects; TanzKollektiv Bremen, Erfurt Tanz Theater, Kunsthalle Bremen, Nederlandse Reiseopera, K3 Hamburg, Landestheater Marburg. His choreographic creations have been shown at various international festivals. In summer 2021 he received the Hessian Theater award for his dance creation "IMPO(R)TANT"
                                                                      COREOGRAPHIC WORKS

       WIEDERKEHR

WIEDERKEHR


Anton Rudakov, Insa Griesing, Alekszandr Szivkov, Andreas Bach, Bas Van Damme, Najel Graf und Sinan Öser


They come to the fore, again and again, flash before the inner eye and overwhelm us in all their splendor and beauty - special memories that suddenly come over us and in which we lustfully dream of immersing ourselves in everything that was because it was so beautiful! Or not? They are moments from the past that suddenly become the present in which we exist. Memories that have long since become places of longing, in which the ability to distinguish between reality and imagination is dissolved and overlaid by feelings.






MEETING WITH MONSTERS


 MEETING WITH MONSTERS


Bloodthirsty beasts, disfigured creatures, peripheral beings: monsters deviate from the norm. They spread fear and horror, invade inhabited living spaces, and destroy idyllic structures. They live in secret and are buried deep inside us at the same time. Monsters embody the fears and longings of human nature. That makes them attractive and repulsive at the same time. The symbolic figure of the monster implies in many ways the excesses and dynamics of civilizations. In times of globalization and superpowers, the traditional discourse about monstrosity is re-established. It creates superlatives and supports economic and ideological interests. The supposedly monstrous can also be seen in the religious or ethnic other. Fantasies and stigmatizations create the impression that this other, stranger is bringing us - the beginning of a war rhetoric that denies other people being human by "monsterifying" them.


TOTALITARIAN BODY 

TOTALITARIAN BODY 
2017 Premiere in Hamburg Kamonagel
Dramaturgy Insa Griesing

“You can survive all economic, state, physical disasters, not spiritual ones. If we give up, if we stop believing in our future, then we are done" Alexander Solschenizyn “Neuen Züricher Zeitung” 12/98 

The Choreographic research on theme of Totalitarian Body or craving for the power.        
Our days are faced with extreme political, cultural and social changes. How will our body react on these changes, will it have also an impact on out physical perception? This question I asked in the relationship and in the reflection on the post- Soviet time, where the radical change happened from collectivism to the individualism. Repeatedly fall the performers in the intoxication of the power of the collective, which 
releases the choreography through movement (whether in fight scene, or the euphoric-joyous togetherness of rebellion). The boundaries between brutality, exhaustion and tenderness become invisible here. The perception of the individual stretches and overlaps with the perceptions of the others. Vibrating body scenes transforms here from the mechanical movement configurations into chaotical happening. A seemingly alien power seizes the collective body.  In this work I used different Medial providers. Beside the physicality of human body and 
different Medial providers, the voice as a main media representor, we created an atmosphere, which is supported and intensified by Video and sound installation. This Performance is the critical reflection on new era of the Totalitaism and pseudo patriotism in Post-Soviet Russia. This performance makes a link to both periods in Russia; the Soviet and the Post-Soviet and rise the debate.


BETWEEN THE WALLS 
BETWEEN THE WALLS
Hildesheim 2019
Dramaturgy Insa Griesing

The dance performance BETWEEN THE WALLS was developed under the working title "The Wals we Built" at the international art festival of the same name in Hildesheim (https://rasselmania.de/project/the-walls-we-built/).

Current refugee movements draw human conflicts into the global political and social situation of today's world. The ongoing situation in the Middle East, in Syria, is unavoidably unacceptable. Interferences with the sovereignty of the state and the rights of one-sided postcolonialist doctrine through personal and violent ones include that the population is robbed of their most basic rights and their livelihoods. Fleeing wars are millions of people who leave their families and homes to bring life and limb to safety. However, many of them will never have personal port access, never set foot on reasonable ground.
Deeply moved by human tragedies, their pursuit of a better life never became, this dance performance BETWEEN THE WALLS is dedicated to the missing. All these people, their hopes and dreams, they lost out in the world. Stranded in the nowhere - no longer there and not here either. BETWEEN THE WALLS plays with the limits of the encounter of an installation spatial concept in which performers and the audience see themselves. The only thing that belongs to it is a thin membrane that is gilded to breakthrough. But who dares to break them open? And what if all dams break and the viewer becomes a viewer?
Behind the achievement BETWEEN THE WALLS is the desire for freedom of action, based on the passivity of the consideration of current tragedies. How can we act as well? Together, with mutual means, pressure on political rights to stop aggression, political and political violence against nations, religions, and against people?

Impo(R)tant

Impo®tant Solo/Dance/Performance

23.06.2021 Hessische Theatertage 2022. Theaterpreis.


The dance performance is a critical reflection on the current political situation in Russia and Belarus, where abuse of power and ongoing oppression have become the main tool and strategy for the unbearable desire for power. "Change", this word from a famous Russian song from the late 1980s, has become a keyword in the protest movements in Russia and Belarus. Millions of people use it to express their protest and their desire to live in a free country without constant lies, violence, and aggression, to live without militarism and corruption.

Shocking videos of violence and brutal repression of peaceful protests by security forces, seen around the world, have revealed the true colors of "democracy" in both countries.

The piece was created after protests in Belarus before the war. This is an act of solidarity with all who fought and gave their lives for a free future.













UNDER THE LINE
UNDER THE LINE. 
North Macedonia. Skopje Dance Theater 2017
The collaboration with SDT dancers during DANCE LAB

We merge with the masses in the constant desire for satisfaction and self-fulfillment; live by external standards, driven by fear of failure and not accepted. Is there still a place within this mechanism of illusion for individuals who view this illusion from a different perspective? 
VASA

VASA
Portland, US. 2016

“Society's Mechanisms of Control” as the Main Idea of this Piece. A society functions on its members cooperating and putting the good of society above selfish best interest. A society's ideas, its principles, its morals, ethics, values, traditions, conventions, laws, and religions are its mechanisms of control. These are the ideas that tell a society's members how to behave and function. How does society rely on individuals and other ways around?


DER ABEND
DER ABEND
Staatstheater Wiesbaden 2013

Schweigt der Menschen laute Lust:
Rauscht die Erde wie in Träumen
wunderbar mit allen Bäumen,
was dem Herzen kaum bewußt,
alte Zeiten, linde Trauer,
und es schweifen leise Schauer
wetterleuchtend durch die Brust.
                Joseph von Eichendorff

SQUASH
SCUASH
State Theatre Wiesbaden 2012

Four classical pieces of music drive five dancers. The Don Giovanni overture begins in the impending D minor of the stone guest, not to mouth in its Allegro section, but in Edvard Grieg music from Perr Gynt, whose insane crescendo compels the five dancers to grotesque. There is only a short break before the baroque Dido and Aeneas overture begins with a very fast second part. And in the end, ballet music comes close to the caricature: Aram Chatschaturjan Saber dance. The dancers are exposed to this breathless change of style and tempo, react to it, and keep up, increasingly under pressure. Everyone dances for themselves and in latent competition with the others, even if everyone seems to be facing the same fate that leaves them little breathing space.
The show must go on!
IF I WERE THE MOON
IF I WERE THE MOON
Skopje Dance Theatre 2015

The Solo "If I Were the Moon" on the song "If" by Pink Floyd, first was presented at the “Skopje Dancelab 2015". The creation portrays a dreamer living in his small but amazing world. Here is a conflict of the inner and outer world of the rational and non-rational. Reality and fantasy. The pendant on the Romantic era, 
where dreams collapse with pragmatism and predominant rationality. Is there a place for the failure at all?  


                                                                                                  VIDEO ART
MEETING WITH MONSTERS
Enschede. Niederlanden 2020

Die Symbolfigur des Monsters impliziert in vielerlei Hinsicht Auswüchse und Dynamiken unserer Zivilisation. In Zeiten von Globalisierung und Supermächten etabliert sich der traditionelle Diskurs um Monstrosität neu. Er schafft Superlative und stützt wirtschaftliche und idiologische Interessen. Außerdem wird der Diskurs benutzt, um das religiöse, rassische Andere einzufangen. Fantasien und Stigmatisierungen erwecken den Anschein, dass dieses andere, Fremde uns holt – der Anfang einer Kriegsrhetorik, die anderen das Menschsein abspricht indem sie sie monsterifiziert? Ist es die Sehnsucht nach Verbotenem, oder ein Virus (wie Covid19) der den einzelnen zum Monster werden lässt? Sind es die Augen der anderen, die hinter jeder Ecke Monster fürchten, oder nährt vielmehr eine mediale Blase unser aller Monster? Es ist existentiell zu erforschen, was hinter dieser monströsen Omnipräsents steckt. 

DER UNSICHTBARE BEGLEITER
Hamburg 2017

Die Atomkatastrophen von Tschernobyl und Fukushima dauern bis heute an. Ein Ende ist nicht abzusehen. Die beim Super-GAU freigesetzte Radioaktivität ist selbst Jahrzehnte später noch nicht aus der Welt. Jede kleine Strahlendosis das Erkrankungsrisiko erhöht. Wer Atomkraft nutzt, nimmt regelmäßig Atomunfälle bis hin zum Super-GAU in Kauf. 
In dieser Arbeit werde Ich ein Phänomen von unsichtbarer Radioaktivität untersuchen. 

L´après midi d'un faune


Choreographic sketch with mandolin

Camera and Concept:

Alexander Szivkov/Anton Rudakov


Neuer Text

MITTSOMMERNACHTSTRAUM


The infinite vastness, the infinite beauty of nature. I did not want to forget what it was like to belong back then. I want to merge in it and stay there forever. Would it still be possible to find my way back? The choice has been made. The flattered, destructive power of reality leaves me no chance and brings me back to order. An illusion of what it was, a beautiful dream. I will wait and come back sometime.

Now the ruling world is recovering from its deep sleep and getting everything that was missed twice as fast. Let me still be with the night and tell me my dream.

Fascinated by nature and music, this type of video was created.



  • BETWEEN THE WALLS

    International Art festival "The Walls we Built". Hildesheim 2019

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  • BETWEEN THE WALLS

    International Art festival "The Walls we Built". Hildesheim 2019

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  • BETWEEN THE WALLS

    International Art festival "The Walls we Built". Hildesheim 2019

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  • UNDER THE LINE

    SKOPJE DANCE THEATRE 2017

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  • Oliver Röckle

    Impo(R)tant

    Credit Oliver Röckle

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  • Credit: Oliver Röckle

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    Credit Oliver Röckle

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                                            CONTACT
E-Mail: rudant@web.de
Tel: +4915776074135

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