Premiere at Aleksandrinsky theatre
on January, 28th in sankt - the Petersburg Aleksandrinsky theatre the premiere " has taken place; Three sisters “ directed by Rostislava Gorjaeva. The author of grandiose scenic versions “ Hamlet “ and “ Othello “ obviously put performance in polemic with avant-garde perusals of Chekhovian plays, first of all with “ Three sisters “ Alexander Galibina at Theatre on Foundry.
In a counterbalance to Galibinu which have bared a scene, changed a life radiotape recording mhatovskogo performance and refused to characters “ Three sisters “ in a spontaneity of feelings, Gorjaev has carefully recreated a detailed household background - with a samovar, with we howl blizzards, with long tea drinking, colours, lacy skaterkami and photos in frames. Intricate scenery rotated, finding out all new foreshortenings of the house of Prozorovyh so enormous and dusty, as a scene Aleksandrinsky. The detail of obviously symbolical character ran Into a dense and stuffy life - klassitsistichesky a portal with the columns, bearing a faint resemblance rossievsky a theatre facade. Probably, the director and the artist (Dubrovin) wanted to remind of the academic traditions connected with this theatre and resisting any kontseptualistskim to quirks in circulation with classics.
memory obligingly prompts that this year - year of century of a premiere “ Seagulls “ in Aleksandrinke (on October, 17th, 1896). Also that traditions of this theatre - not only masterpieces of Mejerholda, Vivena, Tovstonogova, but also failure “ the Seagull “ Evtihija Karpova. Gorjaevsky “ Three sisters “ With their deafness to a rhythm of the Chekhovian play, long and senseless pauses, with lost in labyrinths of four-hour action by actors and with chaotic attempts to explain a state of mind through a life, certainly belong to tradition of Evtihija Karpova which hundred years ago have ruined “ the Seagull “. That performance is put not in 1896, and in 1996, specified, however, much. For example, a romance on Tsvetaeva`s verses, beautifully executed Salty. And a romance on Pasternak`s verses (“ Swept, swept on all earth... “) Which have sung a duet Masha and Tuzenbah. In the end of the second certificate in the house of Prozorovyh large snow has suddenly gone, symbolising an openness of this house to misfortunes and blizzards. But, again - taki on Pasternak, despite a blizzard, candles - not dying away sparks of high spirituality everywhere flickered.
Gorjaev has not casually chosen a candle an importunate leitmotif “ Three sisters “. Performance is made how from the House step by step move its inhabitants, culture and spirituality carriers (we will mention that the culture and spirituality are understood as Tsvetaeva and Pasternak to the guitar, photos on walls, the violin sounds, constrained tone in clothes and long feasts). The Peal accompanies deviation of sisters under the impact of a certain new life, transforming performance not simply into crying on the lost House, but also in crying across Russia. In a scene of a fire of a bell are ominously illuminated red, and in the ending read the burial service over a baron on which breast the candle, certainly, burns.
it is easy to guess, who has survived sisters of Prozorovyh from the old House with cutting it klassitsistskim a portal (the system of associations is traced easily: the House - Theatre - Culture - Russia): Natasha who has turned to last action in decadent femme fatale in a poisonous fluttering lilac attire, and Protopriests, contrary to Chekhov, shown on a scene. Protopriests are carried by a crimson jacket and varnish boots, instead of Pasternak to the guitar sings trite songs under a grand piano and plays not a violin, and in a pool. The new Russian which has been established in the house in all poster znakovosti.
the Concept, called to make performance actual, is embodied so rectilinearly that looks something alien, roughly stuck to the play alien on the aesthetics of any concepts. As it also was hundred years ago in a year of an ill-starred premiere “ Seagulls “. Or the theatrical routine is immortal, and through two hundred - three hundred years there will be all the same: Painful boredom, century dust and terrible shade of Evtihija Karpova?
KARINA - DOBROTVORSKY