Poles served “ Fedru “At Aleksandrinsky theatre have shown “ Fedru “ theatre “ Narodovy “. Director Majja Klechevsky - the representative of new generation of the Polish direction - in Russia was unknown till now. But after “ Fedry “ it will be remembered by much, TATYANA - DZHUROVA considers.
“ Fedra “ - elegant and at the same time varvarski superfluous - applies for the post in space of cultural associations. The Maya Klechevsky has bravely designed performance from texts evripidovskogo “ Ippolita “ “ Fedry “ Seneki, “ To Fedre “ the Feather of Ulova Enkvista and “ Fedry “ Ishtvana Tashnadi. Already on an input in a hall of spectators meets sonorous dog bark. On a scene - white hospital chamber. A floor slippery, ceilings low, doors glass. Over dvermi - typical green tablets with the little men running in search of an emergency exit. In the right corner, on a hospital cot with two droppers - the motionless man. Directly at the rate - doors of lifts which bring that insensible Fedru, death bulletins. In the centre - motionless as a miracle dummy in a red hat, with two fleet on a lead. Doggies as if feeling responsibility of the surrealistic mission assigned to them, potjavkivajut as got, at regular intervals.
“ Fedra “ a vulgar serial in which the head of the family (in combination the criminal authority) has run in whom, and the son and the stepmother first seems, using unexpected freedom, had a ball. But if it and “ Santa - Barbara “ removed it as though David Lynch. The Maya Klechevsky offers a kaleidoscope of plots and surrealistic images as if clicking the panel from the channel on the channel: from a family melodrama on “ Scandals of week “ with “ the Criminal chronicle “ - on “ the Person “ Bergman or Greenaway “ Cooks, the thief... “.
the director excitedly plays different games. In one game of Ippolit “ on Freud “ longs the fictitious mother and aspires to take a place of the father in its bed. Fedra - a victim of bad genes. As a constant reminder on them - autichnyj the young man in a loincloth, her brother a Minotaur. In another the theme of the conflict of generations emerges. Children of Ippolit and Arikija with the persons broken in blood (it is similar, them just tortured) unite to resist “ to fathers “. All these games, plots and characters are united by a triad sex - fear - violence. And forced and the tyrants longing and “ objects of desire “ all time are interchanged the position.
the central place on a scene occupies a table filled with salad dishes and plates with the present meal. The food is read as an image of the flesh, not satisfied desire. After the announcement of death of Teseja sounds, the whole flight " suddenly jumps out; fedr “ all in identical red dresses, and greedy snatches on meal, sufficing it directly hands. Arikija (Patrician Soliman) is filled hysterically by a mouth food, in parallel telling about how soldiers forced mother and killed brothers. The meal takes off at it from a mouth, as if a tsarevna toshnit memoirs. Salads “ the moron “ a Minotaur obkladyvaet a head of inconsolable Teseja (Jan Englert). And at last in the ending on this table spread koronnoe a dish - the corpse of Ippolita wrapped in black polyethylene.
to Understand, who is who, first it is impossible, later - there is no need: images fork and multiplied. The same scenes are lost on some times. Ippolit I - the young social hero, the rebel, doing not wish to follow “ regal “ to laws of the father. Fedra I that writhes in a spasm of not satisfied desire tempts Ippolita with sex “ by phone “: Its hot whisper reaches as though whence - that from below, from - under chairs of spectators, inviting all to go down in it “ a warm, damp labyrinth “. Later Fedra II with an armful of white roses, defenceless, humiliated, falls down to feet of bared Ippolita II which is cold as antique marble. Actress Danuta Stenka goes on extreme risk: its Fedra exhausted with lust is that, what any woman would disagree to see itself. Thus to the Polish actors, their director immersed in whatever pathological chasms, apparently, from a birth grace, serenity and self-checking are inherent. Thanks to this quality, how many blood has spilt on a scene, “ Fedra “ all the same reminds irreproachable dance.