forewarned premiere, the director has made an important point, depriving the referees after the show the opportunity to express a simple but important conjecture. Putting Beaumarchais, Vladimir Mirzoyev aggressively threw back a second, more well-known part of the name of the great comedy by Beaumarchais – he did not play about marriage and not about Figaro, but about the crazy day. More precisely, just about crazy. Which overtook the characters famous play for some unknown reason, no one knows when and where it is not known – the stage action of the new Theatre of the Vakhtangov devoid of recognizable circumstances of time and place. And the circumstance of manner here by and large one – that one that inspired the title of the play.
Needless to say, the madness – the category related theatrical compose himself, and of his frightening depths of visionaries from different eras have repeatedly pushed to light the true masterpieces of the stage. But the play of the Vakhtangov Theatre is not in any way does not belong. Of course, can be attributed to the destruction of the universal folly of simple logical connections between the events of the play, promiscuous, fractional dynamics of play and chance acting reactions. Vladimir Mirzoev, not just working in the Vakhtangov Theatre, not one of those directors who are concerned about the reliability of the stage of the world. He was just a master of bizarre puzzles and paradoxical passages, it is always happening on the stage some crazy, but it is usually so arranged that you understand: the director turns the world inside out competently. Maybe fools of us, but maybe for looks scary edge to it and a prominent one.
In this case, Vladimir Mirzoyev seems annoyed mistaken began looking for the edge, where they do not exist or are not in their case. Let scenic setting (artist Anastasia Bugaeva) is similar to a multiple increase in the children’s designer of fanerok. Let the final top is lowered phallic-shaped object similar to an exotic fruit. Let the people have violated the social rituals hearing on the lawsuit between Marceline and Figaro takes the form of a feast, an explanation of Almaviva and Figaro is accompanied by bloody butchering slaughtered animal, and the Figaro easily ready to torture lunatichnuyu Fanshettu. Let this little world all does not work: a ladder, on which it is important should descend Count Almaviva, starts to come it is not where you want, then do nothing. But all substitution remain no more than ironic because of distinct motives that guide the characters Beaumarchais, was gone.
The main character of the play is not a dummy model looks Figaro (Dmitry Solomykin) and Count Almaviva. Well, simply because it plays Maxim Sukhanov, without whose participation plays Vladimir Mirzoyev hard to imagine. Sukhanov shows another variation of strange characters, for many years one of the nomadic mirzoevskoy work in another, simultaneously charming and repulsive type, moody burglar, Loose and spoiled forever joker with pinched voice and dangerous animals’ habits. If we talk about other actors’ work (and more and say something in the long run there is nothing), remembered the young studiets Maxim Sevrinovskiy playing Cherubino, and if his role was less “Pop”, it would be quite good.
However, the unfortunate antrepriznom pressure, which in the “Mad day” rule Crafts Vakhtangov different generations, including Marina and Alexander Yesipenko Galevsky is easily explained: it is necessary also something to fill the void of meaning. And it is better to pointless komikovanie in some episodes than worthy bad joke skit, which in other episodes were trying to get the audience’s reaction when opened, the real name of Figaro Emanyuel sounds recognizable melody of erotic film “Emmanuelle” and on cue column “What is here strong echo “should be spouting outright answer:” This is an echo of Moscow. ”
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