Body Alienation


"Alienation", so Valentin Tszin marks his artistic method of not only creation of a performance, but also the philosophical approach to understanding of oneself in the contemporary world and its discourses.

Valentin’s biography itself contains the dynamics giving birth to the principles that drive him it at the moment.
Basic education as a drama theater and film actor, and broad work experience in Russian theater and cinema, provided Valentin a set of basic techniques, where the actor is the conductor of the role, the plot, the author or the other source, that could be even a politician or an ideology. Before entering the acting school Valentin got a degree of a Taekwondo Master that granted him not only the basic physical skills of mastering the body, but the basic patterns of discipline and hierarchical understanding of the world.
Much later, after abandoning his actor career in theater and cinema, Valentin became interested in the post-modernist theories of understanding the world and creation of art. Physical theater and butoh gave the main keys to creating his first personal system of teaching and work on oneself. That method, called "theatre of the body semiotics", where the main driving component was comprehension of own body as a set of codes, re-coding of which leads to the creation of "another world", was realised in his Russian company PoemaTheatre, created in 2009 in collaboration with other contemporary Russian artists.
Since then, Valentin tours extensively around the world and cooperates with many modern experimenters.
Curious about, denying any kind of dominance in art as a protest against the system of "art as a tool of power," Valentin himself became dictator of his own project.



Being a part of the neo-liberal European context of contemporary philosophy and art, Valentin wonders again about the artist as an out-personal space of the world and his impact on the construction of the future post-machine world.

"Alien", it’s not a metaphor on a person who escaped from real civilization into non-real dimension of his art, on the contrary, it’s a meeting of a human being with a human being, in a situation of one-on-one in real time and space of action. Moreover, this is interaction of present and perceived in the dynamics of the birth of the third, the "Other", perhaps someone else in the future.


2014