Sleep the globe

Tomorrow in Moscow, the five -day tour of the Shakespearean Globe starts - the legendary London Theater completes its large -scale Russian tour of the show of Dominic Dromgul on the stage of the Mossovet Theater. Lilia Shitenburg watched this performance in St. Petersburg, where last weekend Shakespeare's Globe completed the program of the VIII International Theater Festival “Alexandrinsky”.

The tour of the London "Globe" is actually Oxymoron. The main value of this theater is real estate, a unique building opened in 1997, in the design of which the main features of the famous Elizabethan theater were carefully reproduced. A wooden building, standing stalls, three tiers of circular lodges, a scene surrounded by the public on three sides, over the heads of the audience - the sky. How to take all this on tour? Moreover, the “globe” performances are most thoroughly inscribed in the site, and the architecture dictates the arrangement of mise -en -scenes: frequent outputs on the advance, mirroring of dialogs, passages through the crowd of spectators, indispensable reversal actors for each segment of the hall in turn. Any performance loses something, leaving the native walls, but the performances of the Globe, perhaps, are most of all. How to be with it? "It is impossible to drag the wall into the room!" - The character of "sleep on a summer night" was worried. "Then let someone play the wall to us!" - the author answered him.

The visit of the Globe to the Alexandrinsky festival is primarily a delightful anachronism: Elizabethan Theater visiting Italian. These are two different images of the world: to separate those who play, from those who look, the ramp line or not is the question not only “designer”, but also philosophical. Susal gilding and red velvet against wood and open sky. A motionless evening audience in chairs against an unstable, shifting from the foot to the foot of the stalls and spectators on the benches. Excellent test for the strength for the theater, now led by Dominik Dromgul.

“Summer on a summer night” was staged in the Globe last year, then the performance was in a completely different composition (it can be seen on the movie screens in Theatre project HD ). We must pay tribute to the professionalism of the understudy - they masterfully entered the finished drawing. However, you don’t have to be surprised: the English theater, as they say in sports, is a “long bench”.

As in the overwhelming majority of Globus productions, the originality of the directorial interpretation in the “dream” inevitably departs to the second, if not a third, the plan - there are too many “co -authors” with a performance, the concept of which literally “lies in the auditorium”. Leaving the functions of a conscientious narrator exclusively, the theater flaunts its own innocence not without cunning. Stylization for the Elizabeth Theater is becoming only part of the game, the content of which is invariably a collective experience of Shakespeare's texts. The actors of the Globe have a special privilege: they are not obliged to make rhetoric plausible, certainly “psychologically reliable”, leaving a place for pure poetry.

As expected, the walls do not drive on tour. You can only bring the art of playing the wall.

But at the same time, the Globe does not cease to be a modern theater - just in its own way: the old -fashioned recitation here is invariably shaken (turned, specified, refuted) instant ironic acting. Following some codified oratorical gesture, a short mocking plastic kunshtyuk is going on, a fiery monologue bubbled by Shakespearean metaphors-modern murmur is in addition to the most exalted expression on the face-a fleeting sarcastic grimace. The alternation of poetry and prose, a high and low, tragic monologue and a comic interlijah is a Shakespearean principle, just here it became the basis of the acting method. And it is reproduced endlessly, at high speed, with neatly erased boundaries of the transitions from high to low and back - due to the stretching or compaction of pauses, rhythmic failures and purely English luxury of the diversity of the smallest assessments. Against the backdrop of a deliberately simple -minded action, this acting (not necessarily comic) works as an intermediary between the author and the viewer. In the Globe they are able to do reflection on the classic text momentary and contagious. As expected, the walls do not drive on tour. You can only bring the art of playing the wall.

“Sleep on a summer night”, as you know, in itself gives a canonical example of “problem tours” - compared with the performance of the Athenian artisans of the “extensive comedy” about the piram and Fissbe, any backstage stories about the departure of the Academic Theater to the district center simply fades. In the play, Dromgul, a platform with the columns dangerously dangling on it (a reduced model of Jonathan Fensom), the actors closely, the actors, there is nowhere to fall on the stage, the lion, at the same time performing the duties of the mount, now and then crawls out from under the curtain, with manic persistence continuing to clog the nails. The boot fisba with a frame of an ever-shot skirt sweeps partners from the stage, the whole structure walks with a shake, and the “theater-studio” of Athenian artisans is distinguished. “Friend of the moonlight” comes out with the dog on the shoulder: the dog, firstly, is fake, and secondly, some kind of sluggish (bend the scarecrow at such a heartbreaking angle), and only thirdly, the dead. Crushed in the bustle. “Is your dog real? - Ippolit is politely interested in the broken Russian (literally for a moment becoming Chekhov’s Charlotte). "What is her name?" "Mumu!" - the moonlight answers, clearly not ready for the collapse of laughter in the hall.

However, by this moment the audience was already used to laughing. The performance of Dromgul is a rare case when in this Shakespearean comedy lovers are ridiculous no less than artisans. The decent young Elizabethians, worn after each other through the “Athenian” magical forest, stumble about picturesquely scattered snags (two pieces), make their way through dense thickets (branches in the hands of the fairies “themselves” go after the travelers), gradually lose their clothes and remnants of education. But even half -naked and rather stained, of course, they do not stop "talking poems." And the freshly bombed Lisandr (Jamie Cendler), having not yet had time to tear his sleepy eyes to the end, his consumption loudly explodes the next stream of metaphors, praising the beauty of the beautiful ... Well, whoever is beautiful there this time. When it comes to a fight, the quartet of tormented plague lovers intertwines into acrobatically complex mise -en -scenes, where the struggle is already indistinguishable from the planning orgy, and the trembling Elena (Beatrice Rommili), tightly squeezed by the fighting rivals, then screams in horror, then giggling shy. The trick is not new, but here it is all about the unmistakable accuracy of execution.

The magical forest in this “dream” turns out to be pagan Celtic greyhounds: no moth elves and babies-only horned and feathered creatures in animal masks, dressed in skin and fur. King Oberon (Aden Jillett), of course, is an indefatigable hunter, but also decisive Titania (Janey Dee), you know, far from a butterfly. A little Dionysius has not yet damaged a single theater. The base (Trevor Fox), which has turned into a donkey) perfectly fits into this savage company. Having become a paired-cake, he did not lose his passion for the exaggerated gestures of the amateur actor, the actor, but his most funny trick, perhaps, was a meek gesture, when the foundation knew the long donkey ears, so that they somehow crawled into the wreath that crowned his head. These unexpected subtleties in a deliberately rude performance are likely to mix most.

In “Snow on a Summer Night”, a generous on a variety of gags, each viewer will find a suitable joke. “Globe” is a universal theater, so it is conceived. Someone will be laughed at the Pantalo of the FISBA, and someone-an expression of delight and despair on the physiognomy of the pantry playing her (Stefan Donnelli). Someone will be pleased as PEK (Molly Logan) will say a few words in Russian, and others-how pretty trave is playing a role, without reducing the degree of inspired crawle, and now and then lurges the anticipation of the prox unknown to Shakespeare.

Shakespeare of today's “Globe” is a “artistic public” Shakespeare, Shakespeare of the eternal matinee. But sometimes this morning is healing - the theater viewer gets tired of living at night. “The play reduced the course of the night,” said “Snow on a Summer Night”. In the end, Alexandrink for the Globe began to look completely at home. In the final, the actors received their "standing stall". Because the hall got up. There is no other globe.