Planet of crying

Our favorite gypsy camp - the theater of Dmitry Krymov - staged a new performance. The theater still has no home, roof, constant scene and financing. One naked talent and a bunch of bonuses and titles: from Avignon, and from London, and from Broadway. Dima is a gypsy baron, and the students of GITIS, who follow their director, how the Jews followed Moses from the slavery of Egyptian to the promised country - his gypsies. The country is called art. Such gypsies do not steal horses - they steal our souls. They are wondering about the fate of Russia, and she constantly falls out a lady peak.

Gypsies are not jazz-band at all, not a vataga of merchants. This was understood by Pushkin. "And painful dreams live under the ridicular tents." Our chosen camp staged a performance about Jews. (This is understandable: the children of freedom and children of wisdom went together in gas chambers.) And yet-about intellectuals, about the creators, about Sofya Vlasyevna-Soviet power, about the motherland, about the wall of crying and about Shostakovich. To his music. All this is called OPUS No. 7. Not the “Leningrad Symphony”, as it is also called, no! It's time to tell the truth. Psalms of Davidov - this is what Shostakovich transferred to his biblical chords.

In the first act, we see and hear the “genealogy”, the genealogy of humanity, which once, in gray antiquity, out of 12 knees of Israel. The Jews were the first intellectuals of the planet, they taught and treated, saved knowledge and mentioned the poor; They kept the memory of antediluvian civilization, while other peoples, young and uncouth, killed and robbed each other. The Holocaust began a long time ago, when these sages with a children's smile were burned on the fire of medieval Europe, when they were expelled from Spain, when cathedrals were made from synagogues. And now - the last, the most terrible page: a whole wheelbarrow of small children's shoes, sprinkled on stage against the background of SS boots. Shoes of Jewish children burned in concentration camps. “And our place is called barefoot, Maidanek, Dachau, Warsaw ghetto” (Natella Boltyanskaya).

And in the hall - the wind, a hurricane, and the spectators falls asleep with ash of the Holocaust. As ashes and shreds of paper with the names of a chosen and doomed people. And behind the wall of crying on a huge screen, the silhouette of Nago Jesus with wounds from nails, intellectual, Jew, a homeless gypsy, the first victim of the Holocaust is looming. He was from the David family, he dared to go against the Goliaths ...

And Shostakovich? Shostakovich was not a Jew by blood, but the intellectual is always a Jew in spirit. Reflection, good feelings, intelligence ... A five-meter fool appears on the stage: the birthday of the mother, Sofya Vlasyevna, the embodiment of anger, vulgarity and lies. The actors glide around the hall with portraits: Mikhoels, Akhmatova, Mayakovsky, Babel, Meyerhold, Tsvetaeva, and the “Mother Mother”, putting a fodder with a blue broot of the NKVD, shoots them point-blank and chases Shostakovich, but he can’t get into it, and he runs around the stage, he falls again ...

Shostakovich will catch up, turn into a doll, make you renounce yourself, but you will not do anything with art. Royals, shooting, exploding music will shake around the hall. Art is the weapon of the intelligentsia, and there is no protection from this weapon. It always defeats, as the intellectual David by the power of the Spirit defeated the security forces and Goliath Goliath. The Russian intelligentsia, the heiress of Jews and gypsies, doubting, compassioning, seeking the "coming city", will not let down. Krymov gives her a weapon, and the Rodnemache cannot resist.