Moscow “Lenk” opened the season with one of the most anticipated prime years – and the loudest one in the theater for a very long period. Director Konstantin Bogomolov, who recently called “scandalous” and “radical” are more likely than anyone else of his colleagues, staged the play, for two centuries the remaining horribly important for our country – Pushkin’s “Boris Godunov.”
Mark Zakharov called Bogomolov in the theater for a long time – the negotiations, as well as search for the material, took a long time. On the final appearance of the first performance director in “Lenkom”, of course, influenced by the fact that he came out right now: in “Boris Godunov” can be found allusions to a variety of end-time events, and six months ago he would have been quite different. It is also important that Bogomolov came to “Lenk” not at once. This season, he became a full-time director of the theater, and, therefore, “Godunov” for him – not just another show, but the first experience of working with the new company and the new environment.
To “Lenkoma” same “Boris Godunov” – an event in every way extraordinary, because in this Moscow troupe still has not happened, the phenomenon which we are called “modern theater». ,
“Lenk” – one of the major theatrical legends of the last century, yet has not found a place in a changed world. It is clear that Mark Zakharov with his usual sharp wit and irony can not fail to understand this, and Bogomolov invitation for him – a very serious step and well thought out, aimed at changing the face of theater and clearly motivated by a desire to breathe new life into it. Himself thinking Bogomolov, with its grotesque poster child style and ultimate sobriety view of the world is very close and Zakharov, and the most “Lenka».
But today Bogomolov may is not quite the same director, which was originally called Zakharov.
After the acclaimed “ideal husband” and “The Brothers Karamazov”, set in the Moscow Art Theatre, he produced very different performances. In Vilnius “My dad – Agamemnon,” Warsaw “ice” and a new version of “The Seagull” at the Theatre Tabakov Bogomolov goes minimalist, completely abandoning the harsh effects of direct provocation and gags. He focuses all his attention primarily on the text and strictly obey him play, deconstructing it and brick by brick collecting again.
between the two directions in the work of Bogomolov’s “Boris Godunov” stands as it were in the middle.
And its form and methods he seems to be a strong resemblance MAT performances (many have already talk about samopovtorov director) – but the meaning and purpose differs greatly .
Decoration quite familiar to recent works Bogomolov: spacious pavilion with gray walls of the rectangular blocks and screens on all sides; inside – only two large black leather sofas. The space is now playing at Bogomolov primarily functional role. He did not need to carefully create the objective world of the play, transfer a particular era or just to think of a specific locale. Scenery becomes a kind of “machine” of some performances Meyerhold maximum notional environment in which the game play and that creates its atmosphere, and all the other details appear only at the expense of installation text, music, all sorts of theatrical techniques and hard-built staging.
In the “Godunov”, with all its technological demonstrative, fashionable costumes on heroes and unambiguous sign of our era, in fact, the action takes place in the Russian timelessness – exactly where and turns, by and large, the plot of the play Pushkin .
This is a story that began to be played in Russia before the arrival of the Vikings in the kingdom, and in various combinations consistently repeated from century to century.
Bogomolov manipulates the minds of viewers, constantly mikshiruya circumstances of time and place. The play begins in the newsroom, where the broadcasting program “Vladimir Pozner in exile”, and before the next scene titles helpfully reported that “it is not a TV studio, it is a monastery,” although space does not change at all. Similarly, then the audience will say that “in Russia was in 1597, and in Poland at that time held the festival” Sopot-1979 ».
This is not the first time the action moves Bogomolov by captions on the screen and it turns out that the easiest way to set the terms – so watching the show, you can convince of anything. Bogomolov uses theatrical equivalent of “Kuleshov effect”, “picture” in his performances can take diametrically opposite meanings depending on the signature to it, and the meaning comes from the complex counterpoints between what the audience sees on stage, what he hears and reads a text.
Bogomolov as it investigates the perception of the audience, prompting them to certain associations and placing the dates of his thoughts.
When Pimen fondly remembers Ivan the Terrible, the screen flashes Stalin’s speech; when we are talking about the disgraced emigrant Kurbski – literally twenty seconds, the image of Berezovsky.
But it’s not about too direct allusions, but rather instantly zipping in my head images. Bogomolov, as it tries to encode the viewer, to hypnotize him, that he thought in the “right” direction. If, when Godunov himself crowns himself on the throne, the screen is carried on an empty Moscow, Putin’s inaugural motorcade, it does not mean that Godunov – is Putin, and just goes to show that the power in Russia at all times the same.
Bogomolov looking for that archetype of the Russian state, which was and Prince Igor, and under Peter I, under Khrushchev and Boris Yeltsin.
Director formulates it quite clearly: “Handbook of Ancient Russia usually consisted of three or four people – the Prosecutor, the Patriarch, the General and the king himself.” All this eternal Quartet appears on the scene (led by Boris Godunov), and the other in front of her quartet of Liverpool.
Top officials grilled kebabs guys in T-shirts with the inscription «Beatles “to the soundtrack they sing lines from songs Makarevich” Do not cave in to the changing world, it’s better he will sag under us »-
and the authorities are happy to sing along with, in fact, for us, under us, under whom he still sag! This episode not only the hypocrisy of artists today serving “murderous regimes”, and tomorrow they have been opposed, but also about the invisibility of good and evil, about the inextricable tangle, which in our country is tied freedom and bondage, “liberalism” and “patriotism “truth and falsehood.
It is in this antinomy, this duplicity, in the pathological contradiction of our existence and is one of the main meanings of the play Bogomolov. It seems that almost all the directors ever takes as the “Boris Godunov” and even declared its impartiality, still inevitably get up in the play on one side or another. If closer look at the Pushkin’s text, it becomes clear that none of the cynical power-hungry krovopivtsev exposed poet in all its glory, there can not merit any excuses or sympathy. But it’s so easy and so tempting – to make someone a hero.
Show Godunov wise and strong ruler with a big heart and her conscience, or Grishka Otrepiev – romantic love boys.
Bogomolov fundamentally does neither the one nor the other. He puts bold equal sign between the two sides – the government and the rebels, the Orthodox and Catholics, “Slavophiles” and “Westerners”. Director, constantly fighting for civil liberties, writing damning posts in facebook, many times participated in the protests, said that between the tyrants and those who are against them playing, there is no difference at all. The fact that each successive government is no better than the one it ousted – and perhaps much worse.
Poland, where there is a part of the action of the play, is just as no less ludicrous than Russia.
Marina Mnishek goes with the “wheel” on the head, reminding Yulia Tymoshenko, and conjures Grishka kill as much as possible “and Russian Jews.” The main embodiment of the two worlds literally on one person – two characters, one of whom invented Bogomolov. Two brothers – Gavrila Pushkin Pushkin Athanasius. “The Emigrant” and “not the emigrant».
Both played the same actor, Victor Wierzbicki. One sits in Poland, gives interviews and leads Falsdmitry to conquer their homeland. Another, cranky, remains in Russia out of love for her and tries to save her from enemy troops. They talk on Skype – and Victor Wierzbicki transplanted constantly from one place to another, voicing a replica of the first, then the second. One tone, and the same words – and the parties are different. Toward the end of the video you will see how one brother Pushkin comes to the grave of the second. It is clear that if they were swapped, nothing would have changed.
Bogomolov says total meaninglessness Russian rebellion, which from century to century uprising turns small “lesson” against the venerable “thieves in law».
The monastery, where he began his way Grisha Otrepyev more like a prison, and Pimen wrote a chronicle not only on paper, but “on the bodies sokeleynikov.” Grisha always behaves concepts. An old monk, who inspired him to imposture, immediately targets, and then it will be the same, not in Pushkinskaya rapidly destroy anyone who gets in his way. And once throw off the mafia ambition, in dialogue with Marina Mnishek suddenly showing himself present. In speaking sharply, proud and evil, with a sober determination to go to the purpose for any number of corpses.
The difference between him and Godunov only in age and the fact that one authority already there, and the second its still just wants. Methods – the same.
To beg permission to the kingdom of the widow of Tsar Fyodor Godunov fast movement of its scents, and then informs the boyars – allegedly allowed. “The boys blood in his eyes” – not remorse, but a nightmare king-president-general secretary. Obsession with the problem, which he says in the sessions the analyst, leading questioning harsh and insinuating “off-screen” voice Bogomolov. At the end of “the king understands that suddenly dies” – and just relaxed and dimensional recitative pronounces his last monologue, nothing spared, nothing ashamed and cold sober looking around.
Russian tsar – always king. He neproshibaem.
It’s amazing how dedication, hard and dispassionately playing Alexander Godunov Zbruev. He seems completely rejects and from self and from any notions of his character. Transforms into a “man without qualities”, in “the king in general,” the impersonal ruler with never a trembling voice. The one who keeps the country firmly in the rugged thorns reins, and if a little let go, the mind and will not show, but at the same time to die. It has everything – and the cruelty of Ivan the Terrible, and “Europeanness” of the Romanovs, and Brezhnev’s senility, and Yeltsin’s daring and persistent coolness KGB agent. Zbruev plays Godunov, a collective image of the man who ruled Russia always – in the last millennium, 100 years ago, now and forever.
But the protagonist of the play, perhaps , is still not, and penned Bogomolov character who does not speak hardly a word.
«The prince, the son of Godunov, one person with the murdered Dmitri.” His plays Maria Fomin, a young actress with model looks. Again and again she appears on stage in a strict suit, enveloping the eye that Godunov, the Otrepiev. Both do with it whatever they want – just look at the eyes, to touch her, Otrepyev do almost sucking out her bloody stain heart. And she (or he) always remains indifferent.
Gradually, you realize that the actress playing not only the prince, and Russia itself. It was she who begins and ends the play, standing on stage in a white shirt with bare legs under Glucose song: “Dance Russia and Europe cry, And I’ve got the most, the most beautiful ass».
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