In St. Petersburg there are two drama theaters that are vying for the symbolic title of “the main stage of the city.” In the era metamodern the title is stupid, both theatres have a lot of problems with the response to modernity, but keeping the former Imperial factory in precomatose state, the rivalry is — can and exists only in the minds of the audience — slow flows. In the BDT under the leadership of Andrey Moguchy and the Alexandrinsky theater under the direction of Valery Fokin at the beginning of the year there were two premieres for the authorship of chubrukov. Mighty put “Three fat men” on the story by Yuri Olesha, Fokin — “Svejk. Return” on the play by St. Petersburg playwright Tatiana Rakhmanova, based on the novel by Jaroslav Hasek.
Prime Minister Fokin was held on January 26, as planned before, the Mighty showed viewers the first part of his performance on the same day, appointing the show rather suddenly (on the rivalry). Promised to the anniversary of the revolution, “Three fat men” was postponed for almost three months, dozrevaya in a few viewings for students and relatives of the troupe, who twice canceled, theatre explains: “performance complex”.
Both performances in one form or another turned to chewed in the art from all sides of the topic of relations between society and the authorities hero or simply just a customized character in between. In both performances we are talking about the war — from Fokine on national, Mighty — on civil. And he and the charged visible pacifist and anti-Imperial fervor. That is — by the standards of the late twentieth century — has everything to make a decent show. Unfortunately, the performances appeared in early 2018.
From the spectacle of the Mighty, reportedly, a difficult fate. Planned as a normal two-hour performance, he expanded first to two and then three parts. The first part — “Uprising” — has already shown a wide audience, the second — “Iron heart” — promised 25 Feb strictly for students, but was canceled and now will only show at the end of March. As for the third, is still unknown, even the name.
Andrey Moguchy is engaged in what is called visual theatre, and visual although the theater itself has gone far, far away from narrative, literature, stage boxes, the obligatory presence of the actors and many other attributes of the “old theatre”, which Mighty seem relevant. With this in mind, we can understand that in the play “Three fat men” from the text of Olesha left except a General intention, the statement was made on the basis of visual imagination images, which arises in the minds of the creative team.
the plot of the play Mighty heroically simple: some time ago scientists-experimenters something doing under the terrible secret that opens a portal to another dimension, where on the ground — and this is all happening against the backdrop of “the Great Convergence of Jupiter and Saturn” — and penetrates the clot of cosmic dark energy, identified as T-3. Then it’s just a nightmare: T-3 seize power and chaos begins — endlessly reproduced evil, people forget about love and start to fight with each other. On the background of this case, the reclusive scientist Gaspard Arneri, still quietly carrying out public procurement in a lab, forced out: the rebels broke into his abode, and the government troops in pursuit of them broke down the wall gun (the only really effective scene in the entire show: wall of boxes on the front of the stage suddenly bursts and crumbles to pieces, her paintings open rebellion). Arneri discovers a troupe of circus-revolutionaries who changed his life and encouraged to take the path of struggle against evil.
the Theatre should be different, but when with such a fabulous story in this circus performance face, while the Swiss theatre group Rimini Protokoll talks about the future, leading people, using computer characters in the headphones, is suspected to Powerful, at least in escapism.
In the BDT strongly emphasize that “the production complex” — referring to its technical Assembly. Perhaps this difficulty will be rendered in the following two parts, but it is unclear what such statements justified. Well, Yes — zolototisyachnik Alexander Ronis on cables crawling like an insect on a vertical iron curtain in all the mirror scenes, which are pretty sophisticated videotaping, and through the hall stretched the rope, which towards the end will stunt Tibul, — if all this, coupled with the wall of cardboard boxes is referred to as the complexity, then, may be, refers to the unavailability of technical services of the theater to these problems? Of offensive: initially, according to rumors, to work on the project involved constant co-author of the light of scores for plays by Robert Wilson, A. J. Weisbard that in St. Petersburg has already put the light to the performance of Andriy Zholdak’s “Eugene Onegin”.
However, in the case of HDH, the artist “lost pace”, whatever that meant (and that probably means that the theater did not cope with his pace), he was replaced by Konstantin Udovichenko. However, the spirit of Wilson in the play occurs here and there: the iron curtain from the lab Arneri almost directly refers to wilanowski typography, plus a lighting solution — not so expressive, but not without influence. And mentioned Zholdak is invisibly present in the play: the theme of space, in the manner of cheap fiction is more likely a product of the Mighty impressions from two of the St. Petersburg performances Zholdak — “On the other side of the curtain” and Zholdak Dreams (the second, incidentally, goes directly to the theatre) than the impression of the “Star wars”, which ironically sent the floating titles at the beginning of “Three fat men”.
Apparently, directly visualizing the idea of chaos coming to earth with the T-3, Mighty satisfied with the particular trash on stage. Simple is probably better, but strangely, working with the aesthetic, to forget about the concept of less is more. The abundance from the environment of the subject flows, and actors: the Mighty chooses for them almost buffonade style of play, they are very loud and hysterically rasplachivayutsya on stage. Manner of work with the voice and the plastics here does not look formally as usual from the Mighty, and looks like a throwback to the Russian drama theatre. Excluding special effects, and other text, pure conceptual “Three fat men” to quote the failure to distinguish two early show Mighty — “Not hamlet” and the Circo ambulante. In the first crazy academician recites meaningless lecture, confusing the leaves (like read Gaspar Arneri), in the second working steel plant, which are driven to work in a newly built circus, quixotic, resisting an authoritarian regime (the scene with the circus occupying almost 2/3 the time of the play — the main source of boredom in the first part of “Three fat men”).
Despite all the nuances, the play of Mighty the impression of a modicum of freshness, which cannot be said about “Svejk” Valery Fokin. In a completely static scenery, consisting of six profiles of conditional head of the tyrant on the sides and his full face right on the heel, and the iron floor with openable hatches, played a directing picture of helplessness.
In an interview before the show Fokin directly reports that the show is “a tough, tragic” that he was conceived as a “provocation” to check whether you have changed something for a hundred years and how it has changed. Very good, if very unsophisticated spectator will see in this hard and tragic provocation. In the play, nothing much is happening, sometimes only demonstrates the wonders of pyrotechnics: from the holes in the floor with a crash out houseone guts. The rest of the scene all the time a lot of people who shout the dull text. It’s such a show-fake: fake “random spectators” on the side chairs, which call to action, and who shout out remarks from the floor, aisles the fake actors in the aisles, the fake energy and fake promise — there are so many here this cheap theatrics, which ironically does not play, and there is asreflecting itself. Fokin even allows himself a “radical gestures”: a group of soldiers takes off pants after Schweik, then they as a group represent defecation, girl in a foam suit grenades shouting ascensio, surprised at herself, and on the head of the tyrant is projected live video of the modern executions. So fresh.
the Newspaper critics of conventional recension, of course, started poking around “in the sense of” like the theater in 2018 is a periodical and its purpose is to give people messages. Some have found Fokine’s “powerful anti-war charge,” others saw the play katkaista and thinking about the nature of war, some even complain that the show is too modern (sic!) and it lacks “genuine Schweik.”
And here we come upon almost the most important. Fokin did absolutely irrelevant for theatrical form and language of the play. The only thing he could take place to a mass audience — verbal messages. What are these messages? To the fact that war is bad, and there are sausages good. But even these trivial statements not talk in the play literally. And Fokine, and Mighty finds his presence an uncanny ability to hint at all at once, nothing actually said, and yours, and ours. The doctor in “Schweik” coming to the forefront with a rebuke to the audience — “we have a war going on, and you sit there” is a total fake dual, closed on itself: it is, on the one hand, a parody of the national-patriots calling for the protection of the frontiers, on the other — a valid reproach to the townspeople from the stalls, calm the inhabitants.
the Two main St. Petersburg Director absolutely can not cope with the political and civil in their performances. Even the mighty can somehow hide behind the excuse that his artistic interests more public, that way, it can be seen. But in the performance of Fokine’s art the result is zero: “Svejk. Return” — it’s two hours of agonizing boredom and the change of hands of the person. Setting the journalistic task of “changing mores” — what Fokin in the same video interview reports — strange not to keep in mind that the language of the people and theatre live in time and change over time, and what to speak about the same things at different times need different words and different tone, and — of course — the relevant time theatrical language and form. The leftist charge Mighty finds expression in clumsy images: here is, therefore, the occupants capitalists from outer space, and there’s a simple wandering people, which will give us freedom. However, the rebel-the tightrope Walker Tibul is so straightforward that there is a rope across the room, on it it and shoot. Every revolution ends with blood, velikomudryy reports to us Director careful Powerful. Hard to kill these filmmakers on vague statements, but in another of St. Petersburg’s artistic Director happened: a month before the Premier of a Mighty and Fokine in the Lensovet theatre showed “hamlet” Yuri Butusov. For reasons unknown, the cult for St. Petersburg, the Director has put the four-hour performance which most accurately be described as “no”. But it is also “thin laughter” and hints of “the fool who governs us”.
the Largest (not by value and by scale) theatre of St. Petersburg in his performances, with amazing poignancy heroic blamed everything bad in General, supporting all that is good in this world, except for the modern theatre. In a situation when Театр.doc in Russia there are already more than fifteen years, so the maximum vagueness of the political statements future is only a delicate bewilderment. The notorious guys hidden in the pocket, and not even in the fist, and deep in the head, and there is no assurance that the Directors specifically formulated against which this is directed Fig. It would be possible to forgive all the artists floating in amiriyah if it was the value of these works for the development of theatrical language, or at least maintain it in any relevant form, however, this is simply a disaster. New stage of Alexandrinsky theater, so cheerfully began, and now the current somehow, and preparing for the premiere of the fashion Vyrypaeva playwright, theatre underground, drinking juice from the German punk of the 80-ies, vague dull performances on the big stages, a lot of uplifting music from Gergiev with absolutely senseless Directors and four performances by Andriy Zholdak as the only outlet — it is not clear what it tells more: the misfortunes of the theater of the cultural capital, or the condition of the entire country.