Apotheosis of the game

Ginkas Kama performances are a real gift for critic. Action transferred to the balcony or staircase; unusual scenery and symbolic costumes; Unexpected intonations in classical texts. The expressive artistic manner of Ginkas inevitably gives the ground for verbose reasoning. All the more amazing - discouraging simplicity "Who is afraid of Virginia Wolf?" The director in this production is almost invisible. All of it is only a torn, broken rhythm of the text of Edward Olby and an excellent acting game.

Occasionally in the play, however, echoes of the past flash. George and Martha Ginkas placed the apartment in the lobby, habitually breaking the fourth wall. Just appearing on the stage, Marta, performed by Olga Demidova, throws him into the hall: “She enters the room, looks around, puts the bag on the floor and says:“ What a wretched housing? ” Moreover, the reduction in the play allows you to perceive this phrase (for Olby the describing the heroine of the American film) as an urgent self -characterism of Martha, which recalls the adoptive gap between the performer and the character.

However, as already mentioned, these hints of reception appear in "Who is afraid of Virginia Wolf?" brief ghostly flashes. The new performance of the Ginkas Kama crashes into memory that is passing into stinginess with restraint. And the underlying question: what did the director of Edward Olby “hooked” the director? Why does Ginkas adopt the language of the author, leaving his own style in the shade?

In the production of Dostoevsky, Chekhov, Leskov or, for example, Oscar Wilde, the director releases absurd and farce hidden in textbook works. The play Olby is absurd openly, even shamelessly. Working with classic authors, Ginkas seems to be more interested in subtext, giving him the opportunity to come to the fore, become a driving force. Olby has a subtext already - the basis, meaning, axis. Each of his hero is not the one who seems. Each dialogue is not about the fact that married couples are discussing in a night party. Ginkas, as a rule, uses his directorial arsenal in order to reveal artificiality, theatricality of plot moves, characters, and conversations. "Who is afraid of Virginia Wolf?" And without that - flesh from the flesh of the theater. As indirect evidence, remarks can be mentioned, which in complexity and length sometimes exceeding replicas in the dialogue. Or the epithet "stage", in Olby belongs not only to March, but also to the rest of the participants in the home tragifars. Even to the puppet nickname (Ilya Shlyaga) and Hani (Maria Lugovaya), who are invited to the chamber Valpurga Night as spectators, and deliberately contrast with mercury to the hosts.

Kama Ginkas was never interested in life; It is ridiculous to even assume that family troubles can be the theme of its performance. But “who is afraid of Virginia Wolf?”, Perhaps, lastly about the difficulties of marriage, the longing of the American province, hypocrisy of conversations about nothing. George (perhaps the best role of Igor Gordin) in the play calls himself and Martha “people of life” as opposed to “people of science” to Nick and Hani. Ginkas’s setting makes small adjustments to this definition: “people of life” in it are guests. The owners are "people of art." Or maybe victims. Or executioners in the name. Be that as it may, Marta and George brilliantly, sophisticated, frighteningly demonstrate the capabilities and dangers of the game, turning "Who is afraid of Virginia Wolfe?" In the perfect performance. Ideal, if only because each of it is devoted to art. Not in the meaning of ministry, but rather like a farce, provocations, joking, even a psychological experiment. Filling with sophisticated amusements ruthlessly shallowing life, Marta and George are unlikely to think about high matters. But, regardless of their eccentric desires, the game does not give up positions, does not lose either tragedy or strength. She predicts and even programs fate; It is no coincidence that Nick shouts to George in a fit of anger: "I will become the way you portrayed me." Helps the only relatives, tormented, to find the way to each other. Allows you to survive, leading a tragedy into the subtext, leaving it between the lines, as in the story of a boy ridiculed by friends, who became an involuntary cause of the death of his parents. He loses spontaneity and lightness, stages, affecting something unconditionally and categorically important, the core and the essence of the created universe.