Chekhov type: experiments were conducted on Anton Pavlovich in Moscow
July is the traditional theatrical off—season. However, the life of the stage does not stop. In Moscow theaters in the middle of summer, they destroyed illusions, diagnosed love, treated the audience with carrots and vodka, and successfully proved that Chekhov wrote comedies after all. Izvestia — about the most interesting capital premieres in July.
"Three sisters. Down with the gloom"
Taganka Theatre
Sasha Zolotovitsky's eccentric performance is, frankly, an amateur spectacle. Another interpretation, or rather deconstruction of Chekhov's classics, may seem like a gloomy farce, an unbridled parody of a horror film. In the house of the Prozorov sisters (Nadezhda Flerova, Daria Avratinskaya and Ksenia Galibina) there is noise, devastation and chaos. Their brother Andrey (Maxim Trofimchuk) gets fatter with each scene until he turns into a ball. And, for example, Lieutenant Colonel Vershinin, who since the time of Stanislavsky, the first performer of this role, is usually played by a handsome handsome man, is represented here by Anatoly Grigoriev, a shabby and ridiculous nerd with glasses.
However, other male characters are not worth a good word.: They have no character, no will. Spoiler alert: Tuzenbach (Oleg Sokolov) will not be shot by Salty (Anton Anurov) in this performance. The military band will play children's musical instruments in the finals.
"The Seagull"
Entracte Theater Agency
Vladislav Mentorshev, as part of an entreprise project, presented one of the funniest, most poignant, subtle, though poorly understood and deciphered by the audience (after the intermission, the hall noticeably thinned out) versions of Chekhov's "The Seagull". This performance is a reflection on the nature of creativity. This is an intellectual rebus. And this is a comedy!
What is the value of Polina Andreevna's almost-benefit role in the brilliant performance of Elena Koreneva? A minor character, stealing lines from Arkadina herself, comes to the fore with a generally magnificent star cast (Victoria Tolstoganova, Alexander Gorchilin, Veniamin Smekhov, Vakhtangov's Evgenia Kregzhde and Dmitry Solomykin). To the delight of the audience, the director successfully uses the "theater within the theater" technique. And in this case, Dr. Dorn (Vasily Brichenko) is also Dr. Chekhov, who writes The Seagull... along with Trigorin and Treplev!
"The Wild Duck"
Skalnik-theater
The socio-psychological drama by Henrik Ibsen, written in 1884 and repeatedly included in the list of the 100 best plays of all time, director Veniamin Skalnik decides as an immersive tragicomedy. Those fragments of the text that may seem boring today have been shortened. The fourth wall was destroyed even before the performance began: the actors call to each other and change clothes right in front of the audience, and then from time to time they draw the audience into their game, offering to nibble carrots (the characters have rabbits — and why not play them for the audience themselves), or drink vodka.
The story of how the desire of one of the characters to discover the truth about the past of his friend's family turns into a disaster is very relevant today in the era of social networks. Which is more destructive — truth or falsehood, blind faith in ideals or the destruction of illusions? A wild duck, wounded while hunting and rescued by the Ekdal family, becomes the same symbol here as Chekhov's seagull. The audience calls participation in the play by Anastasia Nemolyaeva, remembered for the old Soviet film "The Courier", a gift. Anastasia is really good and organic, however, as is the entire cast.
"Dust and nothingness"
Moscow Art Theater named after Chekhov
Nostalgia for the 90s became the reason for this production, which is not the first collaboration between Moscow director Pavel Vashchilin and Perm playwright Ivan Andreev. Far from being harsh and documentary, the warm and fabulous performance is consciously disguised as a performance, a modest acting reading, a laboratory sketch, when the actors spend most of their time at a common table with a play in their hands. And nine modern provincial characters who find themselves in absurd situations can be compared with folklore, mythological, epic heroes.
For example, the working guy Fedya (Anton Loban) is the spitting image of Ivan the fool, and the grotesque stall clerk Baba Yana (Yanina Kolesnichenko) is Baba Yaga. There is even a prophetic Sirin bird in the person of the postman (Lyubov Zabolonskaya), and although she often brings bad news, everything will end well.
"Idiot"
Theater of the Russian Army
An exemplary example of non-boring classics. Despite the four-hour timekeeping, the show turned out to be dynamic. In Pavel Safonov's play, released on the Small Stage, there is an attempt to preserve, if not all, then many important storylines of Fyodor Dostoevsky's novel, and this is obviously a painful, difficult and, frankly, unnecessary task.
Set designer Maxim Obrezkov created a gloomy, uncomfortable, by no means brilliant Petersburg. The main success of the production is 24—year-old Artemy Seregin in the role of Prince Myshkin, fragile, defenseless, melancholic and, perhaps, the only "normal" in this crazy world. He tries to understand and justify the actions of others, to see only the bright sides in their character. And, of course, many viewers will come for the sake of the People's Artist of the RSFSR, 86-year-old Alina Pokrovskaya, the last legend of the Army Theater during its golden age, who played the general's wife Epanchina.
Переведено сервисом «Яндекс Переводчик»
