“ the Storm “ with mgloju
the Moscow program of the international Chekhovian festival has come to an end. Here already in the tenth time unique possibility to get acquainted   is represented to the Moscow public; with one of the best creations of world theatre.
this year Muscovites could become participants of the present theatrical marathon from Spain to China, without leaving capital. language and cultural barriers to theatrical art not a hindrance: if the reason does not disassemble, heart will prompt, so the perception problem is absent. Acceptance – here a question.
From here disputes, rough discussions in buffets and, as a result, an applause of one under footfall of leaving halls by others. And this ambiguity - a graphic evidence that Chekhovian festival – event unconditional, out of theatrical frameworks.
Performances, good and different was much, but our spectators not alien to theatre world, have very warmly accepted performance with participation of domestic actors. Without false patriotism. This performance became « the Storm » directed by Deklana Donnellana and Nika Ormeroda.
the Open-air stage. In a minute the person will step into it, will throw a look emptiness and will fill with its art. Will captivate. It the magician. It the duke. It the father. Three forms of the power have merged in it undividedly. It ruling forces of the nature, is capable to call a storm and to tame it, but storms sincere, throwings of heart are not subject to it.
« we are not imperious in to ourselves … ». Sides absolute, whether it be the power or freedom, showed « the Storm ». Light, deprived of ponderousness, and « swing on Shakespeare » performance does not exhaust, excites. But this sweet only oblatka a bitter medicine, it thaws and there is that to us, at times, not on taste. That we sglatyvaem every day. « well and foolish island!
Speak, on it lives only five persons. three from them - we. If at the others in a head the same is created that at us the local state is unsteady ». This Shakespearean phrase calls a storm of an applause. island – the model of the state built by Prospero on the sample to it, to the duke Milan, known – educated, but an absolutism. The education purpose here – submission.
Knigi Prospero – a symbol and the tool of its power. « but remember - books! them grasp! Without books it is silly, as I, And spirits will not obey him: After all it it is hated, as well as me » - Caliban exhorts the new sovereign. prospero – God-almighty, but, as in an old fairy tale, « The kingdom is small … ». And the future does not promise also half lived. The tyrant thirsting for vengeances, leaving understanding inevitability, Igor Jasulovich plays. Divides and dominates on a scene. Svergnutyj conspirators and doomed to destruction in rough waves, it has anew built the state. Built and waited, suffered, anticipated. Revenge was its joy, loneliness (absence equal) – the faithful companion.
But when for impious enemies the day of doom has come, and the victim has turned back the judge, justice has conceded a throne to mercy. This scene in performance is solved as the present court: three spirits (« a three ») Will read to charge to the emaciated and frightened grandees. And, when the hope leaves them, Prospero individually pardons. This pardon – forced, hundreds times changed the mind, the come true will « the first among equal ». In entreaty about indulgence than sincerity, than in a pardon, in it the genuine fear always there is more.
the Pardon - the reason certificate, the decision weighed and to revision not subject. Otherwise it not a pardon. prospero pardons, but does not forgive. It is urged to bestow freedom for the sake of own clearing. This « service » returns it a holy table. Enemies are pardoned, the world is fastened by marriage of daughter Prospero and the son of the king Neapolitan.
But the happy ending exod of the play you will not name. Performance space – surprisingly on simplicity and an invention. Emptiness in which actors have nothing to lean, - seeming. the scene is static, but the picture behind a picture is full of dynamics: before us the ship, and in a minute - Throne-room; the deserted coast is replaced by a strange glade. Here all and all in movement, but not the chaotic: actors finish a picture, and at this time on a scene characters of a following episode go.
It seems that the space here dictates game rules. As well as the island in the play, full of illusions and charms, it dominates over stepped on it, and does not obey. Even Prospero. He is a master of islanders, but at spaces, as well as at time – other Sovereign. island for « strangers » - a role-playing game: range where everyone can test itself(himself). Suffer here not only thirst, but thirst of the power.
the Son svergnutoj empresses of island, wild nedochelovek Caliban (Alexander Feklistov), murmurs on destiny and a poor fate of the slave, he has lost, but dreams to take a revenge from the invader (in its perception) Prospero. Relying on two drunkards Stefano (Sergey Koleshnja) and Trinkulo (Ilya Ilyin), He speaks not about greatness return, such thought cannot be born in consciousness of the slave, but wants to replace the sovereign, to find the new hated graven image. Caliban – symbolises slavery as philosophy: a terrible combination of thrill and a gratification, hatred and self-renunciation before the next lord.
the Difference between Prospero and the new owner only that Prospero has personally intoned itself the governor, having broken Caliban`s right to a choice of the tyrant. The slave with the option to whom to lick heels does not surprise the spectator, i.e. the person and the citizen of ours days. Familiarly.
Submission – a unique way of existence for all inhabitants of island. Submission with incessant thoughts on freedom. Caliban left, loses a speech power. It is incapable to express melancholy, this feeling to it is unfamiliar and consequently it desperately howls. there is nobody to complain, there is nobody to abhor, there is nobody to ask … Ariel, the correct acolyte Prospero released by it from terrible torments of the malicious sorcerer, waiting for promised freedom, having received it, does not know as it to dispose.
Terrible on force, sense and teamwork the performance ending when Prospero which have found a former holy table leaves island and on a proscenium remain Ariel and Caliban – lost, silent. It it is not allowed to play a chess set (game of masters), rolling on a scene. They thirsted for freedom, and have received clearing. To find what never possessed, it is impossible: there is no memory, is not present even an example for imitation. Mighty one Prospero was the sovereign of island, but was not free. Held down by the power, offence, expectation of vengeance it was the slave to island most deprived of civil rights – the mister and the slave in one person.
And in it it we will not distinguish from Ariel and Caliban. Therefore lingering groan passes in unbounded silence. Okamenenie. How separate stage settings and the performance etudes, called to distract public « were amusing; from thoughts sad » time will eclipse nothing the caught subject of performance. Will remind more likely. Trinkulo and Stefano which seized upon rich vestments and have ridiculously got on them is a meeting crimson the ninetieth with the glamour zero.
On their background the torn off Caliban looks not such the savage, after all he has managed to get to the core that the power – it not the form and attributes. These games with disguise as an illustration of history of Russia of last decades. The scene from the play in which three goddesses greet a newly-married couple, is constructed in the Soviet style: here a sickle, ears, print sundresses and vigorous national tunes.
it is rough and coarse, but it seems intended that, without pressing in disputes on the ideal state, to show, what even outwardly our unforgettable past did not resemble an ideal. However, one « ideal » The model in performance nevertheless arises. Gonzalo (Alexander Lenkov), the adviser of the king, draws the state in which there are governors, no ranks, trade, money, foundations … It is passed. The island is occupied by spirits. And spirits of the past including. It not the mysticism, is history. Here nothing is forgotten.
the Main spirit especially approached – Ariel (Andrey Kuzichev). The spirit of air, it as air fills island, without leaving a scene, fills it. Its silent monologues, apparently, do not concede on wisdom to speeches of Prospero. Sounds, water splashes, noise, pleski – inexpressible atmosphere of island (performance) Ariel corrects. Mystifies, submits a scene and auditorium. If Prospero – the ruling theorist, Ariel – the faultless executor, and only call of duty prevents to leave to it the deliverer - the subjugator.
the Faithful servant, unlike Caliban`s slave and just as it, Ariel, will be rewarded by freedom which has become by a devastation. One hope that someone will decide to win this not found island. Performance is multilayered, many-sided (is limited by talent of its people created, and from that is boundless). Here the reality meets a theatre reality: prospero suddenly turns around the tired director of whom the actors playing actors do not listen, to playing heroes plays. A second ago the magician and the judge, it is converted by apologising tone to public and asks indulgences, mercies to which understanding Prospero has as the curtain fell come.
the Appeal of the director/ the actor to a hall, the playwright to the reader, the governor to the people, or the citizen to managing court. underline the correct. Will not be mistaken. The Englishman who has put performance with set of sendings not only by concrete time, but also a place – it not seems paradox any more. If in another`s eye the straw, that is at a short distance visible, probably, from apart it is possible to make out and logs. This sight is from outside exact, wherefore nepredvzjat.
From it the performance time and again calling laughter, seems hopeless. However, according to Prospero, all it was only a dream. And dreams of a geographical binding have no. this dream without an interval, interrupted with an ovation, smoothly passes in a reality, but to find differences between action and the validity it appears not simply. However, calms only that the author of a dream Shakespeare.