Квартира 44/ Appartement 44

Performance at the memorial appartment museum of Anna Akhmatova. The cabinet of Nikolai Punin

Two poets Dmitry Golynko and Alexander Skidan and philosopher Alla Mitrofanova were invited to reconstruct Vladimir Tatlin’s Monument to the Third International out of books reflecting on avant-guard project of Nikolai Punin. The books chosen by them for the reconstruction had to bear both intellectual and physical charge of the tower. Vadim Khorhryakov, a storyteller and musician quotes Punin’s articles, diaries and correspondence and plays accordion.

Nikolai Punin — the ideologist of Petrograd avant-guard art was the closes friend and colleague of Tatlin. He wrote about all his pieces until the mid 1920-ies. The description of the one of the most famous piece of Russian 20-th century art Tatlin’s tower, the symbol of revolution and merger of art and life, belongs to Punin. This cabinet is more likely the place where he wrote it.

The flat that Nikolay Punin, his family, Anna Akhmatova, Lev Gumilev, Punin’s nanny, her son and his family inhabited from early 1920-ies could be seen as the whole Soviet project in miniature in terms of how aesthetics, politics, ideologies and ways of life, material circumstance of the habitat were interwoven and modifying through decades. Examined in their complexity, stories around this former communal flat inside a palace where Russian avant-garde theory coexisted with classical tradition of poetry, intelligencia with working class, where the model of nuclear family was challenged, where the aspirations of a bright progressive future were changed for nostalgia, put under a question

Translation

Translation (11)

Translation (19)

photo: Sinje Hasheider

Theatre piece realised in the frame of Nordwind festival (curator Jens Dietrich) at Kampnagel theatre.

With participation of: Dietrich Kuhlbrodt, Anas Bardan, Lampedusa Group in Hamburg activists: Owusu Patrick, Michael Olokodana, Esther Olokodana, Ali Ahmed, Yulia Averina (Sopran), Ekaterina Kausch (Piano)

Photographs used in the piece by : Alex David, Anas Bardan

The Translation performance commissioned by the Nordwind festival and realized at the Kampnagel theatre in December 2015 is a product of Olga Jitlina’s collaboration with opera singer Yulia Averina, a piano player Ekaterina Kaucsh and Lampedusa of the Hamburg group, a political organization of refugees.

The plot of the performance represents an imagined collective interview of the group with a German official, on the subject of their official status in Germany. Normally, it is on the basis of such individual interviews that decisions of weather to grant or deny refugee status are made. The criteria for the decision include a true description of the circumstances, and reasons why protection in Europe is sought. Translators are provided for applicants who cannot speak the host country’s language.

However, it is frequently the case that accounts of events that the applicant is asked to repeat multiple times during the course of the application, although originally consistent, are translated differently, giving the impression that the applicant is giving inconsistent and misleading accounts, and as a consequence of this, the application may be rejected. Thus, the question of translation becomes sometimes literally the question of life or death.

In addition, in practice, the question of whether descriptions of extreme experiences and conditions that a person has experienced are always translatable, remains open.

Trying to imagine how an individual and a collective story of migration, political subjectivation and struggle could be told I decided to base it on Andrey Platonov’s novel called Dzann or Soul. Written by one of the most amazing Russian writers, it narrates about a nation consisting of outcasts of different ethnic groups dying from poverty somewhere in a desert in Turkistan. The protagonist, Nazar Chagataev, son of a Turkman woman and a Russian soldier belongs to this nation. When he was a child his Mother, trying to avoid seeing him die of hunger sends him away. He ends up studying in Moscow and then coming back with a mission of rescuing his nation. Together they depart on an almost a biblical journey in the deserts trying to survive and achieve a collective happiness, the essence of socialism for Chagataev. But even after those members of this community who manage to survive, build a collective farm, achieving happiness is still problematic.

The question of how bare life can be politicized, articulated by Giorgio Agamben more than half a century later is one of the crucial questions of the novel Dzann, and also the crucial question of our performance.

Besides Platonov’s novel we used some poems by Iosif Brodskiy and prose by Osip Mandelstam, Russian poets with Jewish roots.

Another practical problem of translation appears in the meetings of multinational and multilingual groups of refugees. All communication and decision making is challenged by the necessity to translate everything to multiple tongues.

We use five different languages in the performance. Trying to construct one narrative out of many languages we aim for a utopian goal of reaching to a universal language which might have existed before the fall of the Tower of Babel or to the mystical effect of glossolalia when driven by the same goal we would suddenly start to understand foreign languages of each other.

The translator who mediates the communication between the group of refugees and the German official is an opera singer. She “translates” their story to the language of European opera tradition performing areas by Handel, Mozart, Wagner and songs by Schubert.