PRIMARY SOURCES & MEDIA

PRIMARY SOURCES & MEDIA

COMPLETE SASHA PEPELYAEV WORKSHOP FOLDER

https://drive.google.com/drive/folders/1vzOrjw4qPPEpBd4g2bzqDO63CONLFq4A

COMPLETE TEN-DAY PROTOCOL

https://docs.google.com/document/d/1M3VoIGVRv2p6PBB3Kxr2cmxI6dQdzD5mldqTRZOF51s/edit

CONCISE PROTOCOL

https://docs.google.com/document/d/1n5M3VaKZwJJRfLVPBTEgc8IH_iifYzNiMPGxA-XUMIQ/edit

ARTIST TALK — 28 MARCH 2025

https://docs.google.com/document/d/1gfGQb279TPCNqfAhLEwKMbJQ4BRuswEgtfEMq56Voc8/edit

FINAL SHOW ORDER

https://docs.google.com/document/d/1_4bkDHD6ScHlMBTx_Q1LXetIEMrWNf-bpF1aDvCJ42Y/edit

WEEK ONE VIDEO ARCHIVE

https://drive.google.com/drive/folders/1FO62BNu5lXg4rctamw39W4VBYQj6iAv6

WEEK TWO VIDEO ARCHIVE

https://drive.google.com/drive/folders/1dx1Ovnxi-9b7LGICNtM8f9f0UB0iBKdD

SECONDARY CPPM RESEARCH — SASHA AND STACY

https://docs.google.com/document/d/18wt8wTxkDtXIRrV_9bnCIhpmWaqrW4_TvfAoVxMB2HQ/edit

PREVIOUS VISUAL CPPM MAP — SASHA SCREENSHOT

https://drive.google.com/file/d/1-WreUMqvFWn8RUX7BceDoxfIDLH3q5bV/view

PREVIOUS TERM 1 MIRO MAP

https://drive.google.com/file/d/1SAHH-a2CbCHaLvV_dhVfrwQkskQJgjVL/view

ARTIST TALK — INTEGRATED MATERIAL

FORMAL STRUCTURES / BONUSES

Sasha described a balance between formal, logical tasks and strange additional bonuses. Bonuses could push performers away from predictable thematic solutions.

THEME / SHORT WORKING PERIOD

The process began with Leekiv Armastus and partly moved away from the theme toward The Little Mermaid through recurring mermaid bonuses, sea imagery, transformation, loss, bodily distortion, group composition, boat/sailor associations and screen imagery. The group deliberately partly forgot the theme to widen possibilities. The two-week period limited testing, modification, refinement, connection-building and technical integration.

LIVE VIDEO / ANTI-SELFIE

The challenge was to make live video more than decoration. Meaningful communication was sought between actor, movement, camera, graphics and screen. ANTI-SELFIE involved photographing the empty space, introducing live camera, allowing movement to disturb or erase the stored image, and transforming absence, presence and image.

FAILURE / COMEDY / TRAGEDY

“Oh shit, it doesn’t work — let’s keep it.” This expresses openness to failed alignment, absurd structure, unstable solutions and productive error, while material still passes through selection, editing, context and composition. Comedy may intensify tragedy through contrast.

SELECTION / IRREGULAR PROCESS

The étude process was irregular: many études may produce nothing usable; one day may generate much; fragments may return later; an unsuccessful étude may produce another idea; only part may enter the final work. More material was produced than shown, making selection and cutting essential.

PANTOMIME / KINETIC THEATRE

Sasha described early pantomime followed by directing, contemporary dance, visual performance, space and objects. Current practice was not presented as mime, although non-verbal communication, physical clarity, object relations and spatial composition remain visible. Kinetic Theatre was described as a long-term group concerned with performers, objects, space and movement, not a permanently salaried repertory company.

STRUCTURE AS DISCOVERY / AUDIENCE RESPONSE

A theme may become clear during the process. Sasha described searching for general structure, direction, movement between states and human relations. The final order was fixed but some sections remained responsive to audience, performer timing, live energy and duration.

NAMED VIDEO INDEX

WEEK ONE

Sasha teaching a duet:

https://drive.google.com/file/d/1mzv6jKLfDqzgcfLcMUHQhWkRLWKW66zY/view

First composition:

https://drive.google.com/file/d/1VQZxbg-FQgu_BcOdNOTJdER3xKV_DJ3a/view

WEEK TWO

Warm Up:

https://drive.google.com/file/d/1Yc80KC8nzKoTIno64mFOcDNpmW4mBeug/view

Open Class rehearsing:

https://drive.google.com/file/d/15Qswh04pbVUVy3qsJEXhPb6Rh4izwsRO/view

Open Class run-through:

https://drive.google.com/file/d/1iXR465nl4zrMv_DW8h3bgEd8R1oFSqtq/view

Mi amore-d:

https://drive.google.com/file/d/18u9MFzndl6AAXeMQKO-K8kh1ABSEUQCJ/view

GENERIC VIDEO FILES

The archives contain generic IMG_ and UUID-based filenames. Do not rename or assign them to days without exact written linkage, manual review and certainty.

MANUAL MEDIA REVIEW REQUIRED.

VIVA MEDIA INDEX

LIVE VIDEO / BODY DISTORTION

Select a manually reviewed Week One clip showing scan relation, disappearance, duplication, altered limbs or composite bodies. Selection should demonstrate precise bodily timing rather than post-production.

PARTNERING / PHRASE TRANSMISSION

Sasha teaching a duet. Selection reason: physical vocabulary and transmission of set material.

OPEN CLASS REHEARSING

Selection reason: editing, transition building, relation between études and technical preparation.

OPEN CLASS RUN-THROUGH

Selection reason: overall physical-visual model.

Do not claim rehearsal or run-through is the final public performance unless manually verified. Do not invent timestamps.

PREVIOUS VISUAL CROSS-MAP INDEX

The previous visual CPPM material contains Sasha-related references including Leekiv Armastus, Ophelia’s Valentine Song, Hamlet, voice, text, truth, musical reference, contemporary popular culture, classical material, fairy tale and myth, physicality, and a thematic merging of contemporary/popular culture, classical material, fairy tale/myth and timeless emotional material. It gives stronger attention to physicality.

VISUAL CROSS-MAP REFERENCE.

Do not treat the screenshot as complete or final analysis. Do not infer a definitive colour or emoji key.

The earlier mapping also contains a possible relation between Sasha Pepelyaev / Kinetic Theatre and Marco Donnarumma through live technology, body/image, performer-system feedback and non-linear creative generation.

POTENTIAL LATER CROSS-ARTIST LINK.

Do not create the Jump Link during this pass.

LATER ANALYTICAL CONTEXT — DO NOT LINK NOW

PRIMARY MOVEMENT CANDIDATE

VISUAL, KINETIC & IMMERSIVE THEATRE

Possible grounds: live image, performer-space-object relations, screen dramaturgy, visual composition, non-verbal structures and transformed spectatorship.

RUSSIAN THEATRE LINEAGE CANDIDATE

STANISLAVSKI — possible later relation: scenic intention, emotional or causal legibility, action/reaction and transformation of state.

MEYERHOLD — possible later relation: biomechanics, formal composition, external structure, physical score and visual construction.

SOURCE SAFEGUARD: the direct Stanislavski/Meyerhold formulation appears in secondary CPPM research and is not clearly stated in the primary Artist Talk. Do not present it as Sasha’s declared lineage without verification.

PARTIAL AESTHETIC COMPARISON

MERCE CUNNINGHAM — possible comparison: non-linear organisation, structural movement and independent but interacting media. This is an aesthetic comparison only, not a confirmed direct influence.

SOURCE AND TRANSCRIPTION SAFEGUARDS

• Always use the name Sasha Pepelyaev.
• Use Leekiv Armastus; where translation matters write [TRANSLATION VARIES IN THE SOURCE — VERIFY].
• Use ANTI-SELFIE for the live-video technique.
• Do not silently repair unclear transcript arguments; use [UNCLEAR IN SOURCE TRANSCRIPT] where needed.
• Participant summaries are not automatically Sasha quotations.
• Do not assign generic media files without manual review.

ATTACHMENT STATUS

Core source links are preserved in this note. Native URL attachments are created separately where supported.