Tired “ the Seagull “ has revived in ViennaSpektakl Ljuka Bondi
Tired “ the Seagull “ has revived in Vienna
the new version Chekhovian " became One of the main events of festival Wiener Festwochen which has come to the end in the Austrian capital; Seagulls “. Performance of Viennese Burgteatra directed by the art director of festival of Hatch Bondi has forced some German critics to start talking that the capital of German-speaking Chekhovian theatre henceforth is in Vienna.
In the technician there is a concept “ weariness of metal “: outwardly to a product occurs nothing, and the internal structure gradually becomes fragile. “ a seagull “ Anyway for Russian theatrical consciousness, - the tired text.
it is almost impossible to imagine, that on a three-hour way from the first axiomatic phrase “ why you always go in the black? “ to last, so axiomatic “ the matter is that Konstantin Gavrilovich was shot “ there could be any unexpectedness, - if only the director does not go on conscious blackmail in relation to the text and operates within the limits of so-called “ actor`s theatre “. Viennese “ the Seagull “ it is poured by unexpectedness. Each of which in itself no more, than a private detail. But gathered, they really create effect of strange freshness.
Ljuk Bondi does not undertake any extravagant production steps. It simply independently moves under the Chekhovian play, carrying away behind itself actors. The secret is concluded that he knows how to carry away them and what exactly each of them can be carried away. The director admitted that, in its opinion, “ to put Chekhov it is impossible, it is possible to invite only to a scene of actors and to try to adjust their coexistence “. In this phrase, of course, as well as in the majority of statements about properties of Chekhovian theatre, the slyness and a fog suffices. And the skill of director Bondi recognised as all Europe anywhere does not hide, but wins just because, in - the first, avoids radicalism, and in - the second, unmistakably selects people, those whom it is necessary “ to invite to a scene “.
If appears at Bondi any “ not Chekhovian “ a detail she does not shout about herself. As, for example, the refrigerator removed to a back. It also you will not notice, while in the third action to it not privalitsja indifferent clodhopper Trigorin. Or the huge scarlet sail tense over a platform where Kostja Treplev shows the performance. By the way, concerning some eternal riddles set by the play, Bondi it is quite concrete. So, Treplev at it is obviously talented: decadent pesku about lions, eagles and partridges, this performance in performance to look very curiously, it is made expressively and ironically. And Nina Zarechnoj, obviously, has an actor`s talent. So the deadly disappointment overtaking both in the grey slow fourth certificate is not simply law of life, but concrete fiasco of two presented people. Very seldom going right roles of young heroes “ Seagulls “ are played by Johannoj Vokalek and Avgustom Dielem with clear, not abstract dramatic nature.
but are the soloist in “ to the Seagull “ all - taki not they, and Jutta to the Lamp and Gert Foss, two great actors of a modern German scene playing Arkadinu and Trigorina. Bondi removes an age difference between them two, paternal the implicit conflict of both pairs only becomes more accurate. Why at one is both talent, and success, and at others only talent without good luck - Bondi, naturally, outright does not ask this indecent question, but he creates that latent pressure that defines life against the magical lake drawn on a dark wall.
instead of the answer of Jutta to the Lamp grandiosely plays a mix arkadinskogo self-love and a reflex spontaneity, nervous callousness and acute resourcefulness. It is entirely dissolved in movement, in small reactions to everything that occurs round it, in pleasures by small victories, in dosadah the wounded vanity. In detail to describe this actor`s perfektsionizm sense is not present: “ the Seagull “ Hatch Bondi is already invited to participate next spring in the next Chekhovian festival. This third Chekhovian role to the Lamp, after Masha in “ Three sisters “ and Ranevskaya in “ Cherry garden “ Petera Stein`s two well-known performances.
it is obvious that transition of the actress from Chekhov Stein to Chekhov Bondi in general has designated qualitative transition in German tradition of the big Chekhovian style. On change magnificent, on - zapadnoberlinski “ objectivistic “ shtajnovskomu illjuzionizmu 70 - 80 - h the years, based upon studying of director`s scores of Stanislavsky and Chekhov`s perception as certain theatrical and philosophical absolute, the Viennese performances of Petera Tsadeka (" have come; the Cherry garden “) and Ljuka Bondi which are not denying universality of the Russian classic, but real measurements returning to it. “ actor`s “ Chekhov at Bondi has turned out acute and ruthless. Means, absolutely not old-fashioned and dumped weariness of the century comforter.
the NOVEL - DOLZHANSKY