Aesop lessons

Hooliganism on the stage will become less

Aesop lessons

Hooliganism on stage and now there are few, but it will become even smaller

Like everything good in art, the story of the play “Mr. Puntila and his servant Matti” in the theater. Mayakovsky began with a ban: the Moscow authorities did not allow posters to hang upshores in Moscow. And then the passers -by will not think for an hour: who is this puntila? What if the curiosity will go further: and who is his servant Matty? So the Moscow passers -by were saved from unwanted associations: let them go around the city, not particularly discarding the imagination. Bertoldt Brecht, who wrote a play about the Finnish village of Puntile in 1940, could hardly imagine that the name of his work would be so disturbing the hearts of officials in Moscow in 2012.

They say that the slogan “Finland without Puntila!” Sounded in the runs! He was no longer at the premiere. But when the contradiction between the Puntila and the people offended by him reached the climax, a poster was brought to the stage, where a condom with the inscription “Puntila” was depicted. And I remembered: last December, Banderalogs, posters.

Puntila (plays him by Mikhail Filippov) gifted with a special property: when he is drunk, he loves his servants unprecedentedly, but when he is sober, he turates them uncompromisingly and bloody. Brecht warned: the owner will sober up, and the servants will have to cry from the fists of the "father of the native."

In the play of Mindaugas, Karbauskis is more about the bifurcation of personality than about social inequality. And, in my opinion, it is correct that the performance is not built on direct associations with today. After all, if we talk about the political theater, the Taganka became a phenomenon due to the fact that they spoke in the new theater, and not because of allusions, associations and figs in the pocket.

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The political theater in our country has a great future, however, most likely, it will be the theater of hints and allusions

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However, the fig will be a separate conversation. After all, now is a new period in its glorious theatrical history. In the late eighties, our theater was allowed to pull her out of his pocket and demonstrate from any angles. However, the media criticized the power so powerfully that the theatrical fig was depressed. She was forgotten. And now, when people who criticize the power are again switching to a whisper, and in the media they celebrate the ongoing Valentine's Day between the people and his “fathers”, the fig again acquires meaning. It even becomes for a waving dangerous, however, not yet fatal. After all, if during the heyday of the Taganka they brought such a poster as on the Puntile, they would be arrested not only by actors, but also by the audience, but for the prevention their relatives and classmates. Karbauskis created a pocket for his fig, but not in the performance itself: in all the interviews that the director gave before the premiere, he categorically disowned the politics. Like, no hints, what are you. Just sing and dance. Well, yes, they took Brecht for these purposes, who has all the plays about politics. But we are artists, what a demand is from us: from whom we want, from that we are soar. However, now the situation is that the hero of Mikhail Filippov, crazy and equally sincere in both tyranny and love for the people, and the growing tension between the owner of life and his subjects are very relevant.

The political theater in our country has a great future, however, most likely, it will be the theater of hints and allusions. Direct fierce journalism in the style of theater.doc does not stylistically live on large scenes, and less and less are allowed to academic theaters. Hooliganism in the spirit of Karbauskis is very few and will become smaller. The directors will soon have to master new techniques and look for other images. And then Yuri Lyubimov, who, thank God, is recovering, will be able to give not only master classes on theatrical skill, but also the lessons of the Aesopov language.