Theatre without borders: The art of ınclusion and profound meanings

Today, December 3rd, marks the International Day of Persons with Disabilities, observed in many countries worldwide. This day is not just a date on the calendar but a call to reflect on creating a more inclusive and equitable environment for everyone, regardless of physical ability. Hence, the need for inclusive spaces becomes ever more pressing. There are only a handful of places where physical perfection's boundaries dissolve, and inclusion ceases to be extraordinary.

 Founded in 1982, “Visage Movement Theatre" is one of the unique projects that embodies the principles of inclusive art. The ensemble creates performances featuring people with various physical and mental disabilities, ensuring their integration into society's cultural life. The core idea of these inclusive performances is to showcase the value and beauty of every soul, regardless of health conditions.

In 2003, the theatre transformed into an integrated company, uniting children and young people with disabilities, their peers without disabilities, and professional actors. From its inception, the theatre embraced a philosophical and psychological approach to art, focusing on exploring inner motivations for movement.

Photo by Umar Kurbanov

This exploration gradually led to profound improvisation, forming the foundation for all the theatre's performances. A pivotal aspect is channeling the actors' inner states into a spiritual realm, which manifests through meaningful and harmonious gestures. 

After attending the premiere of “Scarlet Sails,” the editorial team of ELLE O’zbekiston spoke with Liliya Pavlovna Sevastianova, founder and director of "Visage Movement Theatre"

Photo by Umar Kurbanov

What inspires you, and where do you find the patience and empathy crucial for inclusive theatre?

When you perceive your work as a calling and understand who has called you and guides you through life... When your parents have given you so much love that you can't help but share it... When your first lesson in compassion was listening to the record “The Cat's House” that my father brought home when I was a child – I cried for the poor kittens... When you meet like-minded individuals and collaborators who bring joy into your work... That’s when everything falls into place.

 How do you select plays and projects for your theatre’s productions?

During rehearsals, I share with my actors what moves, surprises, or inspires me, whether it’s a book, a poem, a painting, a piece of music, or a real-life story. Together, we discuss these, and the actors express their feelings through movement, articulating what touches them most about a given topic. From these improvisations arise spontaneous, lively, and expressive gestures, movements, and staging. I select the most meaningful and harmonious elements, refine them with the actors, and weave them into a choreography.

The dramaturgy of our performances is also drawn from the real lives of our actors. For example, “Out of the Depths, I Cried to You...” revolves around Valera, one of our actors who uses a wheelchair. Similarly, “Unwritten Portraits” explores the inner worlds of several actors who play musical instruments. Dima has limited body movement but can play the guitar with his fingers. Sevara, who is visually impaired, excels at the piano. Akmal plays the saxophone, and Kolya plays the guitar – all of them dance with the help of professional actors. For 16 previous productions, we based our work on the real lives of our actors. Only “Scarlet Sails,” our latest production, was based on a literary work – Alexander Grin’s novella, though still created through improvisation.

Photo by Umar Kurbanov

 How do you select plays and projects for your theatre’s productions?

During rehearsals, I share with my actors what moves, surprises, or inspires me, whether it’s a book, a poem, a painting, a piece of music, or a real-life story. Together, we discuss these, and the actors express their feelings through movement, articulating what touches them most about a given topic. From these improvisations arise spontaneous, lively, and expressive gestures, movements, and staging. I select the most meaningful and harmonious elements, refine them with the actors, and weave them into a choreography.

The dramaturgy of our performances is also drawn from the real lives of our actors. For example, “Out of the Depths, I Cried to You...” revolves around Valera, one of our actors who uses a wheelchair. Similarly, “Unwritten Portraits” explores the inner worlds of several actors who play musical instruments. Dima has limited body movement but can play the guitar with his fingers. Sevara, who is visually impaired, excels at the piano. Akmal plays the saxophone, and Kolya plays the guitar – all of them dance with the help of professional actors. For 16 previous productions, we based our work on the real lives of our actors. Only “Scarlet Sails,” our latest production, was based on a literary work – Alexander Grin’s novella, though still created through improvisation.

What methods do you use to attract actors with different abilities? How do they find you?

Life itself "organizes" everything. My first experience with inclusion happened in France in 1996, where I held dance improvisation workshops. Among my participants was a young woman on crutches with atrophied limbs. The success of her involvement in a production encouraged me to share this experience in an interview for a Tashkent newspaper. Afterward, the directors of a club for children with disabilities approached me to work with their kids. Gradually, these children joined our theatre, and for over 20 years, we’ve been training and creating productions with them. Occasionally, new participants with developmental challenges join us after learning about the theatre through the press or word of mouth.

How do you train your actors and staff to work in an inclusive environment?

Before Visage Movement Theatre began working as an integrated company, my professional actors and I were already exploring "living" theatre through dance improvisation. The methodology we developed over the years enabled us to start working with individuals with disabilities. I believe that spontaneous movement is the most organic form of expression for people with disabilities. To make these movements artistic, we teach participants to bridge the gap between thought, feeling, and movement. This approach allows anyone to express their inner aspirations through dance, regardless of their physical condition.

Photo by Umar Kurbanov

 What achievements and successes of your theatre do you consider the most significant?

Our theatre has participated in and won numerous international inclusive and non-inclusive festivals. However, I consider our greatest achievement the fact that recent festival juries often refuse to believe our actors have disabilities—some even suspect us of fraud. Similarly, audience members often note that while they may initially notice the actors' disabilities, this fades into the background as the profound dialogue between the performers and the audience captivates them.

It took me years to fully embrace individuals with severe disabilities as equal, complete, and creative beings. Therefore, it brings me immense joy when our audience undergoes this transformation within the span of a single performance.

What do you see as the future of inclusive theatre and its impact on society?

I believe the presence of individuals with disabilities in society awakens crucial feelings such as compassion and mercy, without which a person cannot be truly whole, even if they are physically and mentally healthy. In public spaces, people are often repelled by the visible attributes of disabilities like wheelchairs, walkers, or a guide cane or the behaviors of those with mental disabilities. Theatre, however, can reveal the rich inner worlds of such individuals. When this is achieved at a high artistic and aesthetic level, it has a profoundly positive impact on audiences and unites diverse people. This unity is what every society desperately needs.

How do audiences respond to your productions? Has your theatre changed anyone’s perception?

Our performances deeply resonate with audiences of all ages. Parents report that even hyperactive children become engrossed, while young viewers forget their gadgets. Many people confess that after watching our productions, their values have shifted, and they realize their "big problems" aren’t problems at all.

Audience feedback often centers around key phrases like "beauty," "admiration," and "everyone should see this to make the world a better place."

How do you combat prejudice or stereotypes about inclusive theatre?

In the 1990s, our company was well-known, based at the Russian Drama Theatre, and our infrequent performances consistently sold out. When we began working inclusively, audiences initially recoiled, unable to reconcile "art" and "disability." It took three years of hard work to change their minds, but eventually, our shows began selling out again.

What advice would you give to those looking to create inclusive spaces in the arts?

Be bold and embrace the emotional investment, it will be repaid many times over in the gratitude and love of people with disabilities.