The theatrical premiere in “ Ostankino “
the Enterprise “ Ostankino “ headed by Galina Skorobogatovoj, has begun release of independent scenic production. A debut - William Sarojana`s play “ Cave people “ directed by Oleg Fomina - failure full and unconditional, but seems, nobody discouraged, critic ALEXANDER SOKOLJANSKY considers.
the Public invited in a television centre on preview, wearied in foyer more than two hours. Very modest and very badly hanged out exposition of modern Armenian painting dated to the premiere, has had time to bother in this time, and the orchestra playing sentimental restaurant music, has exhausted absolutely. At last on the selector (instead of traditional theatrical calls) has thundered: “ Light, start spectators! “ - And doors have unwillingly revealed.
the same voice belonging to the director, has carelessly thanked gathered for love to art, has informed that featured actor Armen Djigarkhanyan is sick and instead of it on a scene there will be other actor, not less remarkable (Victor Proskurin has appeared which), has told something about replacements in general, has warned that the run giving unique possibility to glance in creative kitchen is shown, and has stopped, having said at last: “ Excuse for talent “. Possibly, it was the joke.
impoliteness neudivitelna. Urgent inputs, mess with mount, all is scattered, and tomorrow the premiere - in a peak situation Oleg Fomin behaved precisely how it was possible to expect from it. Similar impudence, however, compels to express its work without habitual ambages and equivoques.
action has begun with the comical cascade of director`s stamps - worn out, pretentious and joined at random. On roller skates on a scene have passed three putanopodobnye maidens. The man with a raised look has thrown out in air of a half-pack of a paper. Has run out, dancing, the guy in riding breeches and with a tambourine, and behind it the girl with a scourge: having tried, as it is necessary, to click, it has greased on a cheek in what not the guilty supernumerary. The author`s note has been solemnly read and burnt. The synthesizer has represented similarity of explosion, and a scene have lighted up is red - green a projector. Such quantity of a banal nonsense of all for one and a half minute of time - an original production record.
note burning, however, had a certain sense. At Sarojana action occurs at the thrown theatre intended on demolition; the homeless there gathers and is trained to love each other. A constant theme of this Armenian classic of the American literature - life poor and warm, “ the restrained beauty “ To Russian art consciousness very clear, but also and the touching romanticism accepted so it is serious, as soon as it is possible. The artist Leonid Podosemov, judging by its work, loves beauty absolutely other. As a back he has offered akrilovyj a sea landscape, on each side has built metal woods with everyones openwork gnutostjami, in the middle has laid out a plexiglass ramp. All it, undoubtedly, is cast by impressions of Roman Viktuk performances “ M.Batterfljaj “ and “ Lolita “ but to what here? Show can be organised, to heroes of Sarojana it resolutely nothing to do.
However, they also do not do anything. Became almost a rule that in prime ministers of enterprises the primary goal of the popular actor - to show to public the most recognised gestures and intonations in ogrublennom for descriptive reasons a kind. The main theatrical expert on “ uploshchennomu to an embodiment “ Director Leonid Trushkin is nowadays, as it is known. Experience of cooperation with it had both Victor Proskurin, and Tatyana Vasileva - a top - models ostankinskoj enterprises. Scenic time in performance “ Cave people “ they leave indifferently and easy, with a professional correctness. Work on two - three firm intonations and on single turns. Scenes in which the director`s hand is felt more poorly, look better. Vasileva plays without being false almost. Outwardly it in the good form, however there is no saying with definiteness, whether has kept the actress the talent, there is no time uncommon.
at Tatyana Augshkap and Andrey Ilyin the instinct antrepriznogo self-preservation was not developed yet. They play the roles nervously, suffering director`s predilection to grandiloquent and hysterically sentimental which often gets on with roughness of feelings. Oleg Fomina`s production receptions - some kind of the bad form encyclopaedia. He loves the slow motions, the upraised hands, the figures which have been wrapped up by a tulle, zamiranija in beautiful poses. Neither to disassemble dialogue, nor to build a stage setting it is not able. That there is one projector which has been taken out on a scene: having played a beam of half-minute, the director forgets about it till the end of performance, and the device silly hangs among scenery - as the broken hyperboloid of engineer Garina.
the Suits which have been thought up by Alla Kozhenkovoj, are made professionally and, possibly, could be beautiful. But it is impossible to cut, really, beggarly rubishche from boiled silk. It is impossible to arrange final “ defiljazh “: all in is white - white and happy - happy. The first in accuracy repeats a joke about street to the beggar under windows of Uajlda (“ brilliant Oscar “ wounded by old clothes, ordered to copy them in muslin, itself cut holes, and has changed clothes of the poor creature), the second reminds of dream of Ostapa Bendera. As a theatrical course both that and another is intolerable provintsialno.
It is summarised: “ Cave people “ are extremely helpless as drama action, aljapovaty and are inconsistent as a show. The debut undermines respect for the scale and perspective project: to adjust manufacture beautiful and it is desirable clever performances, thanks to television doomed to popularity, - business big and work really standing.
Having given in to producer temptation to open a new name, Galina Skorobogatov, probably, has lost sight of a difference between theatrical manufacture and the priest - the industry in which at skilful raskruchivanii personal advantages of a star of a special role do not play. In theatrical work without professional skills and some possession “ nou - hau “ it is difficult to achieve commercial success. Because also new names are rare.
the premier prices for tickets - six-place. A stamp “ 200. 000 rbl. “ on a beige background I saw the eyes. How many places will be sold, how many rozdano, how many remain empty - a question of the second; the reputation of the most expensive (and, so, prestigious) shows in theatrical Moscow is won. However, at the reached result this first advertising course can become the last. From professional self-esteem to the producer followed cross out at least one zero.