MKhAT has caught something femaleAmericans have shown there something of type “ Fedry “
the American studio of MKhAT on Tuesday has opened the eighth Moscow season Robert Woodruff`s performance (Robert Woodruff) and Murphy`s Mercedes (Mercedes Murphy) “ Fedra 4. 48 “ devoted to English playwright Sare Kejn (Sarah Kane). Stanislavsky and Chekhov`s house till now otplevyvaetsja.
This composition on motives of a myth about Fedre is cut out by the American students from slices of plays of the most different authors, when - or concerning themes of fatal passion of the Greek tsarina to the stepson. All has gone to business: from classical Evripida and Racine to our contemporary Sary Kejn who in the end of 90 - h shocked London, and then and the whole world with the scandalous revelations. In a basis of the scenic text “ Fedry 4. 48 “ four of six plays written by it have laid down. Two of them - “ Love of Fedry “ and “ the Psychosis in 4. 48 “ - Directly are connected with declared in the name of performance by a theme. In the first the myth about Fedre is stated as history of degeneration of modern royal family, and in the second, created shortly before death of the writer who have committed suicide at the age of 28 years, - “ as if it is lost in consciousness of the patient struggling between passion to other person and tragical unwillingness to live “. So the aaplet, anyway, informs. It will be convinced of it to independently Russian public hardly: performance goes in English, and plays of Sary Kejn too are not translated yet into Russian. But the spectator also does not need to understand subtleties of interpretation of an ancient myth different authors. Plastic etudes with which the American actors fasten episodes of the performance - frankenshtejna, are much more intelligible. The such is remembered, for example: Eight long-legged girls - Fedr rush through all scene and with running start jump on hands to the partners - Ippolitam who run, despite weight of a burden, drag them back. But not here - that was: girls again run up and again jump... This and others, not less expressive, etudes unambiguously let know, which aspect of the tragedy which are not giving rest to playwrights and directors here already more of two thousand of years, is regarded as of paramount importance in this “ Fedre “. And to explain it it is possible one short word fuck which sounds in performance almost through a word. The flight unsatisfied, offended by coldness of the subject of adoration of women is a terrible, destructive force. From collective orgies in the beginning performance promptly slides to collective madness, clinic and death. In a final scene on one edge of a stage Fedra which have swallowed tablets lies, and on another blood-stained Ippolit whom if who does not remember, the vindictive stepmother has accused before the husband of rape creeps out. All comes to an end with a stage setting “ Ivan the Terrible kills the son “. In a role of the father offended Tezej, in a role of the son, accordingly, - frigid Ippolit acts.
Perhaps, it is possible to see unique influence of Russian school on students of Institute of the higher theatrical formation in it at the Harward university which have arrived to School - MKhAT studio on three-monthly training. The following premiere of the American studio promises to be closer to Russian ear and spirit: “ Rhinoceroses “ Ezhena Ionesko will put our Roman Kozak who already worked with the American actors over performances “ Don Zhuan, or love to geometry “ and “ the Bluebird of happiness “ in 1999. A premiere “ Rhinoceroses “ it is planned for May, 10th.
MARINA - SHIMADINA