Rus News Journal

Serial murder of competitors

Trilogija Ejmuntasa Njakroshjusa on “ to the Gold mask “
festival theatre

Within the limits of the anniversary program of festival “ the Gold mask “ have passed tours of Lithuanian theatre Meno Fortas which has brought to Moscow all three Shakespearean performances of Ejmuntasa Njakroshjusa - “ Hamlet “ “ Makbet “ and “ Othello “ in different years becoming winners of the Russian national theatrical award. How they look today, MARINA - SHIMADINA tells.
the Name of Ejmuntasa Njakroshjusa, one of the most modest and not public directors of our time, in spite of himself a brand became more solid “ the Gold mask “. If you were not at performances of Ejmuntasa Njakroshjusa, in the near future you cannot keep up the conversation in a decent society. Such impression has definitively developed after the three-day tours of theatre Meno Fortas which has caused, as usual, a mad agiotage. Despite the additional barrier exposed before an input in Theatre of the Moscow Council on which scene took place tours, it is not clear as free riders getting inside did not find room on steps in pass and unless did not hang down from chandeliers.
oils to fire were added also by the Ejmuntas Njakroshjus which have promised on a press - conferences shortly to remove from repertoire “ Hamlet “. To performance already ten years, and as the director has told, “ actors began to play without fire in eyes “. Besides “ Hamlet “ has been put in critical, “ vyvihnutye “ years and during our rather safe and conformist time has lost a former sharpness. And if performance shortly will really remove, the Moscow spectators become one of the last who saw entirely the Shakespearean trilogy which, wanted that the director or not, began to be perceived as a unit - a such three-serial theatrical blockbuster “ Fire, water and copper pipes “.
But also seriously, this trilogy can be considered as a uniform work of art with the special, repeatedly described theatrical language primary rough and tangible matters - water become which semantic units, fire, stones, iron, and special way of a structure of performances. In retelling of Ejmuntasa Njakroshjusa action of Shakespearean tragedies is developed in abstract “ when “ and very concrete “ where “. The details marking a place of events, set the fashion to all statement. In “ Hamlet “ The snow drizzle strewing from the sky, blizzard howl, shaggy fur coats court and all severe ascetic scenography create sensation of wild pagan northern country. From here and a performance tuning fork - blocks of ice with which the Phantom freezes a body of the son the same as damned questions and potustoronnie riddles force to freeze his soul. In “ Makbete “ the action takes place in a deaf province: shouts and noise of wings of geese and other poultry transform tragedy from life of royal persons into a parable about the mere mortal who has not resisted sinful temptation. “ Othello “ it is entirely constructed on noise of a sea surf, as justifies the general resort colour of performance, and visually illustrates blind force of elements of storming human passions.
is at this trilogy and the through plot - history about  destruction of the world, about the end of times, - only chronologically turned inside out. Ejmuntas Njakroshjus shows the performances as their creation - from “ Hamlet “ To “ Othello “. But if to consider the trilogy as a unit, the Shakespearean chronology would be more logical: “ Hamlet “ “ Othello “ “ Makbet “. Or even “ Othello “ “ Hamlet “ “ Makbet “. Last performance of the trilogy, “ Othello “ it has appeared most easy, air and simple, as well as the Shakespearean play in which the world still prochen and is fair, and tragedy - only a special case, result of human blindness. In “ Hamlet “ this world goes to pieces: the cold beyond the grave deadly poison gets into it, taking away last particles of human heat concentrated in children - Hamlet and Ofelii who and in this kingdom of darkness continue to play and love. In “ Makbete “ infernalnye forces in shape of three pretty legkonogih fun-loving vedmochek already have completely taken hold of the sky and the earth. And the person does not try to resist at all of Slova Makbeta “ These predictions neither to a harm, nor to good “ are transferred an anonymous voice which otstranenno sounds offstage, as the herald of last true, indifferent to moral categories. Full human hopelessness is ingeniously expressed in last scene of performance when over decapitated Makbetom and all other heroes of the performance who has transformed a scene in a continuous cemetery, prayer Miserere sounds. But it is turned to the empty heavens which have failed on the earth in the form of a scattering of heavy cobble-stones. The direct blinding light of a projector directed to a hall, says that this plaintive and simultaneously raised doomed crying - on all of us. After such ending forcing all hall to shudder, it would not be desirable to look anything else at least within a month. Also it is one more argument finishing the trilogy “ Makbetom “. And against to open it “ the Gold mask “. Lifting a festival rating, it and after ten years after creation of the first performance does not leave to other theatres any chances.