It is closed anniversary “ the Gold mask “
the Lion Dodin, Peter Fomenko, Valery Fokin, Ejmuntas Njakroshjus, Deklan Donnelan - to such Areopagus would envy any largest European festival. Add to them performances - favourites of the Moscow season “ Truth - it is good, and the happiness is better “ Sergey Zhenovacha, “ Mamapapasynsobaka “ Ninas Chusovoj, “ Captured spirits “ Vladimir Ageeva, unconditional “ a hit “ “ the Gold mask “ - “ Double inconstancy “ Dmitry Chernjakova, rather serious two performances of Michael Bychkova: in St.-Petersburg - “ the Hole “ in Voronezh - “ Winter “ and the picture of the Russian theatre life will appear rather intensive, sanguineous and various.
In a nomination “ Performance of the big form “ fight will be to the death. Slow, deep and extraordinary ascetic work of the Petersburg master of the Lion of Dodin has called serious disputes in Moscow. That in Petersburg looks as revelation of the master who have put, the, probably, most “ Chekhovian “ performance, in Moscow have conceived as cold traditional direction. The unconditional Moscow favourite - Sergey Zhenovacha`s performance “ Truth - it is good, and the happiness is better “ - too victory of traditional theatre. But “ warm “ if not to tell “ hot “ game of actors of Small theatre of Vasily Botchkarev, Lyudmila Poljakovoj, Evgenii Glushenko, ingenuous “ moralizatorstvo “ ZHenovacha - Ostrovsky it have appeared to the refined Moscow theatre-goers more close cold dodinskogo psychoanalysis.
Between two these blocks the opus of Ejmuntasa Njakroshjusa " has taken place; the Cherry garden “ - apologia of the Russian sado-masochism: Five hours of an incessant hysterics with brilliant actor`s works of Ingi Oboldinoj in a role Cook also Evgenie Mironov in a role of Lopahina. Between two these works will choose uneasy. Approximately in the same parity are Sergey Zhenovach and Nina Chusova. Valery Fokina`s performance “ the Auditor “ in Aleksandrinke just suggests to connect tradition and innovation in theatrical consciousness of contemporaries. But this ideological impulse ruins performance. It appears extremely artificial and strained, losing a spontaneity of the human and theatrical statement.
Perhaps, unique performance “ the big form “ which does not form any pair and any context, - “ the Egyptian nights “ Peter Fomenko. It costs detached a season, wherefore in its centre - a creativity problem as that. Probably, for this reason it has every chance to become the winner “ Masks “.