Burdens of weightlessnessOn scene MHT of a name of Chekhov the most long-awaited part of the Chekhovian festival which is passing with support of Federal agency on culture and cinematographies and Ekspobanka, - a retrospective show of performances of outstanding Canadian director Robera Lepazha has begun. Having played a solo performance “ a moon Underside “ it has proved that knowingly it was waited here by so much years. Tells the NOVEL - DOLZHANSKY.
the performance of Robera Lepazha Glorified all over the world “ a moon Underside “ it is debugged and thought over to trifles. And the only thing the spontaneous, not rehearsed moment for all evening was that expression of a happy fright which already on bows has appeared on the person of mister Lepazha. He has seen that on pass, roughly applauding together with all hall, to a scene there is legendary cosmonaut Alexey Leonov. The first person who has left when - that in a free space, is one of protagonists “ a moon Underside “ - In a kind bezlitsego a dummy in the military form it opens the Soviet exhibition of space technics in Montreal, it is waited unsuccessfully in a bar of the Montreal hotel by character Robera Lepazha who then also goes to Moscow on any conference on problems of development of a space.
Rober Lepazh did not play this performance four years, but it is no wonder that for display in Moscow he has agreed to restore “ a moon Underside “ - a solo performance, to it thought up, put and executed. After all from Russian not one only Alexey Leonov appears in this history. Mister Lepazh remembers still Tsiolkovsky and Gagarin, on the video screen there is Sergey Korolev, participants of operation “ the Union - Apollo “ and the simple Soviet citizens who have nestled to radio receivers, broadcasting call signs of the first companion of the Earth. Rober Lepazh a dotted line tells story about conquest by earth dwellers of a space, partly - rivalry history between the USSR and the USA. And thus shows a much bigger arrangement to Russian word “ the cosmonaut “ than to a word “ the astronaut “.
Actually the main events of performance occur not in an orbit, and on the Earth. The plot about an exit of the person on space open spaces is necessary to Lepazhu to tell rather ordinary story about two people, two brothers at whom recently after a serious illness mother has died. One of them - the television announcer, the pragmatist and the rationalist, the second - the oddish romanticist, the nice loser who writes nobody the interesting dissertation about influence of technical progress on culture and removes houm - video for competition on the best reporting on terrestrial life for extraterrestrial civilisations. The victory in this competition becomes for it almost unique good luck for many years.
Rober Lepazh herself plays not only both brothers, but also several more characters with whom heroes communicate. Situations and dialogues, it is possible to tell, ordinary: reception at the doctor, conversation with the former mistress by phone, attempt to get out of the got stuck lift, necessity to dispose of household things of late mother, in particular, a goldfish by name of Beethoven. Mister Lepazh reproduces human, too human, situations and says is delightful the written dialogues - the monologues full of graceful, soft humour. He is not engaged any “ transformations “ but all two with superfluous hour that it is on a scene, does not allow to distract for a minute from performance - and not from - for a plot, of course, and thanks to surprising general intonation: Rober Lepazh as if invites spectators in any travel. Certainly, he knows much more us and precisely knows, where wants us to result. But seconds is not engaged in haughty philosophising or empty actor`s narcissism.
“ a moon underside “ connects two principal views of a human monologue - lecture and a confession. He speaks about terrestrial affairs as if looks at a planet hardly - hardly from outside, about space - with clear superstition and secret fear. The interlacing of ordinary and unearthly Rober Lepazh is not afraid to show with humour and tremendous theatrical imagination: a window through which it is possible to leave in space, it it is amusing “ rhymes “ with a round door of the washing machine, and a circle of the mysterious and eternal Moon - with a dial of the hours counting our local time.
he spends performance infinitely sad and filled with surprising internal poetry in a black scene - a box. Rober Lepazh uses that a video projection, theatrical dolls, simply magic of movement of screens, “ kadrirujushchih “ Theatrical picture (it after all, by the way, also the successful film director). It seems, all set of modern theatrical technology lies at it near at hand, but it works as these tools rather unostentatiously. Economically - hardly - hardly, but exactly.
two times it uses a huge mobile mirror. In a playtime to see spectators not directly, not face to face, and in reflexion. In the end - that, creeping on a floor, to create in a mirror effect of flight of the hero in weightlessness. Between these certificates of shyness and absolute freedom of the author all performance lies. And the mirror hangs all this time invisible, precisely catching mirror of the modern telescope, not ceasing to listen attentively to the Universe, whence we are watched by the higher force. Sometimes it concerns with an invisible beam somebody from earth dwellers, and such “ touched “ (Or kissed by God, perhaps) people start to feel life and to do the part immeasurably more deeply and more talently, than other earth dwellers. On anybody at world theatre not similar, mysterious and very drawing to itself 49 - the summer Canadian by name of Rober Lepazh, certainly, one of such our contemporaries, schitannyh and the elite.