The reformer of the Moscow theater Vsevolod Lissovsky in Berlin

WAs the gracious young woman proclaims from a scaffolding in Berlin-Neukölln, it looks like a manifesto. She divides people into three categories, calls the nice person in Russian, while fifteen spectators listen on the headphones for simultaneous translation into German. There are those who have a lot of money who, to keep it, have supported the existing order, and those who do not have money, who therefore want to reverse that order. Both are realistic, says the woman on a silk tag, while a passer-by pulls his child curious. Unlike those who have little money, she continues with a whispering expression, without her charming and irritated listeners can guess that she quotes just Jean-Paul Sartre – they would do it to save their money, but also to increase the order to destroy, but in fact preserve it; they are idealistic.

The scene is part of the immersive interventionist play "Implicit Impacts", which the Moscow performance group "Transformer" interpreted by its conceptual head Vsevolod Lissovsky played for three years in the Russian capital, St. Petersburg and Yaroslavl. now also brought to Berlin. Lissovsky is one of the pioneers of Russian theatrical innovation who sees eroding the separation of functions between actors and public. During a conversation between two performances, he explains that he is not a director but a commissioner. For the "implicit influences", Lissovsky compiled texts of classical and modern philosophers, literary fragments and poems, but also encouraged his five performers to repeat or improvise favorite authors or songs. The piece, which he understands as a research project on the social body, is developing at random. The numbers on the tokens, which are given to the public, and the performers remove them, determine the scenes and the direction of the movement in the urban space. In Russia, Lissovsky reveals that he or his fellow soldiers have already been arrested by the police.

When the woman, standing in a corner of the house, quotes Jean Paul Sartre, it looks like a manifesto.

Lissovsky, 52, who once worked for television and then for the Moscow documentary theater "teatr.doc", describes decades of economic stability under Putin as the trauma of his life. After the 90s, while he was sentenced to imprisonment for his debts, his life had dropped. In the meantime, things are getting complicated in Moscow, but he is also happy that he is starting to move again. Lissovsky, who is interested in the existential experience, also works with homeless workers and migrant workers. In the spring, he released the play "The Cave" at the Meyerhold Center in Moscow, where three elderly homeless men spend an hour and a half philosophizing on life, love and husband and wife, interrupted by the Lissovsky interpreters, as commentary, Passages of the allegory of Plato's cave. Previously, he had released "Akyn Opera" with Tajik musicians who worked in Moscow as laborers. The production, in which the declassed singers-actors recount their hard lives in humorous songs, has even received the Golden Mask Theater Award. Of course, the lives of his migrants and the homeless have not improved, admits Lissovsky. The Tajiks would continue to do their cheap work and one of the "philosophers" started drinking.