In modern clothes

As promised, the first half of December on the theater in Moscow turned out to be wow! Since the NET festival was going on all this time, which was very successful this year, and even on the same days the Festival "The Seanislavsky season" solemnly ended not only the presentation of anniversary prizes, but also the next premiere of the nyakroshus .

First about NETE.

The festival of the new European theater with the monospore of the French Hungarian Joseph Naja " Unknown Diary " began. Naja - choreographer and artist, director, dancer and a little clown - in Moscow is very fond of, twice he received the Golden Mask for the best foreign performance of the season, and this time his fans held his breath in anticipation of happiness. As a result, many of them remained disappointed: there was no integrity in the play, the “diary” looked confused and torn, like a series of strange pictures - outbursts in the blurred consciousness of suicides.

A light fence on the stage portrayed an apartment. Bizarre shadows lay on its walls and doors: it grew a huge, in human height, a light bulb, reflected in dark glass, then water flowing stood in figures, and invisible hands left wet traces. Without stopping, thunder rumbled and rain rustled. From behind the wall, the naja's fingers first appeared, shyly feeling the tributary, then he himself, with his sharp and brittle plastic and anxious gaze of a madman. It was said that the source of the "Diary" was the Naja’s own diary of those years when he was still a student of the Budapest School of Fine Arts, and two of his friends committed suicide, and the third - went crazy. But according to the performance, it is difficult to understand: Naja has one hero or several of them.

The way he moves is not much like a dance: suddenly he will make several convulsive movements similar to a hurry story, and again pick up his stools, holding his legs under himself, as if afraid to touch the floor. The hero gradually removes one after another walls of the apartment, leaving in the depths only one luminous window into the bathroom, where it is visible if you push the curtain, a dangling strangler in a suit and hat. In this performance, the fear of death is constantly intertwining with the desire for it. The hero then plays with a rope, wrapping it around the neck, then it turns the knife that descended to him. Then he takes out the hanged man from the loop and rinses him in a bath, as if in a cradle, otherwise he shaves a huge ax, and then sticks him into a wooden table and puts his head nearby, trying on a pose of his head sentenced to cut off. He is not afraid of a knife and an ax, like death from his own hands. Such death is easy and understandable, I want to experience it. Only the roar of rain, the rustle of leaves, unknown traces and strange moved shadows on the walls cause inexplicable horror in it.

Naj was a "special guest" of the festival-after all, he is significantly older than thirty-layer-year-old directors of the new generation on which NET is being built. Another "special" project is the world premiere of the play " Genesis #2 ", made by the order of the Stuttgard Theater Festival. “Genesis ...” - the play by Viktor Ryzhakov, the play by Ivan Vyrypaev, who, after the success of last year’s oxygen, became the new favorite of Neta. The legend of the new production is as follows: a play about God and wife Lot was written by a certain mathematics teacher Antonina Velikanova, lying in a mental hospital with a diagnosis of acute schizophrenia. Through her attending physician, she handed it to Vyrypaev, and he only slightly processed this text, complemented it with letters that Velikanova wrote to him, broke the text into episodes and, using the texts of the same Antonina, composed several zonxes interrupting the action. Most of the critics writing about this performance believe that Velikanova is a mystification. Or, as Gleb Sitkovsky from the "newspaper" wrote, " the author of the author ." I think that Velikanova, like her text, exist, they can be presented, but, of course, the rhythm of the text, his poetic organization and the whole set of those that are mixed in this performance - from sex and violence to a dispute about the existence of God - typically Vyrypaevsky.

Two actors play on an empty square of the scene: Alexander Bargman depicts God (speaking under the name of the attending physician Arkady Ilyich), Svetlana Ivanova - the wife of Lot (by the will of the author she is called Antonina Velikanova). They argue whether God exists, and the god-Arkady Ilyich himself denies this. In addition, the Baypaev and Ivan Zarypaev participate in the play - he, putting his hands in his pockets, in a cap and a baggy jacket, like a guy from the outskirts, goes to the public in order to sing mockery and mobble bits between the episodes. "Eh, in every house anal, yes group, yes lesbian, yes incest! .. Eh, day of prostitution is the day of world reconciliation!". "A dead woman sleeps with a dead dream, and the dead husband suffers from loneliness ..."

The actors are very charming - and the self -confident doctor (“Hello, I am your Arkady Ilyich! Recognized me?”), And the radiant -onion Antonina (“Going crazy is not so easy, but I would very much like to ...”), and, of course, dug, from which, as always, there is a wave of acting drive, an electrizing hall. But the whole spectacle as a whole gives the impression not so much well -organized insanity as is guilty of teenage damned questions and complexes. And there is no doubt that the festival success is provided to him.

In addition to the performance of Vyrypaev in the NET program, there were two more domestic productions: the Mkhatovskaya “Preferring the victim” (the play of the Presnyakov brothers in directing Kirill Serebrennikov), which we already wrote about, and “Mr. Carmen” of the Petersburg theater Ahe. The performance of "Achaeans" - mocking alchemists, artists and engineers - this time was a duel between two bearded men (Maxim Isaev and Pavel Semchenko - "gentlemen of Carmen") on names. The shaved Pavel, dressed in a skirt, defended Carmen with a long earring in his ear. Maxim, painted in a red -haired bespectacled man, performed on behalf of Jose. "Carmen" and "Jose", stepping on each other, they wrote with smoke, a ray of light, splashes of water, paint on polyethylene and a wet rag on the floor, threads, ink and blood. As the authors themselves said in the program about the play: “This is the gentleman who crossed out in the text of Merim all the words“ Carmen ”and wrote on top of the Jose. This is Jose, who signed the dying note in the name of Carmen.”

Four more performances that participated in Nete were staged by Lithuanian Oscaras Korshunovas, Thomas Ostermayer and Arpad Schilling - the stars of the very new European theater, for the sake of meeting this festival seven years ago. The performances that young stars of directing, famous for the production of shocking modern texts were, were, firstly, entirely in classics. Secondly, all of them to one degree or another were located in the tradition of a realistic theater. And thirdly, they were all dressed in modern costumes. This was a trend.

The headliner of the current NETA definitely was the thirty -six -year -old leader of the famous Berlin Shaubuna Thomas Ostermayer . The organizers of the festival have tried to achieve his arrival for several years, but only this year, thanks to the help of "Russian-German cultural meetings," this was succeeded. Ostermaier brought two performances at once: the Ibsenov “hole” in the alteration of Marius von Mayenburg and, as an afterword to her, is a wordless monosphere “Concert on the request” by the French Ksaver Kretsu. "Nora" has turned into history from the life of the Family of the current Jappy: the lawyer Helmer, recently appointed by the director of the bank, his pretty non -working wife and three children. They live in a stylish two -story apartment, similar to an advertising picture, where a huge aquarium is built instead of the wall, they are friends with the same young joker and balagur Dr. Rank (in this version he finds himself with AIDS -Bisexual), listen to rock and, as a Christmas masquerade costume, choose a T -shirt, shorts and pistols of Kroft's lara. The masterfully made, energetic and somewhat glossy performance by Ostermaeer presented our public with a high -quality European theater mainstream. The "concert on the request" demonstrated the German theater on the other hand - it was quiet, chamber and very marginal.

In the final of the "Nora" according to Mayenburg, the heroine instead of expressing everything to her husband, to leave him, she released a complete clip from the revolver in Helmer. And therefore, the text of the baptism, which shows a dull evening from the life of a lonely woman, Ostermaire considered it as an option for the development of the fate of Nora after liberation from prison, where she should have entered the murder. In the play of a baptist, similar to one long remark, Ann Tismer (the same actress who played a hole) with an incredible and slightly grotesque detail played a miserable lonely cleaned Froilyain Rush from the moment when she returned from work, opens the door of the apartment, undresses, changes the shoes and turns on the battery, before she could not fall asleep, she drinks one after another after another The whole pack of sleeping pills and thereby stops its mechanically one-like life. Ostermaire, along with Timmer in German, is circumstances, fixing every detail: preparation of sandwiches, laying out the solitaire on the computer, washing tights, cauterizing the pimple on the chin. One of the most intense episodes in the play is a visit to Froilyain Rush toilet, also taking place before our eyes. Here Froilyain Rush sits on the toilet and pisses (we hear murmur). Then her gaze becomes more concentrated, her face blushes. You can hear a poop flopping into the water. More and again. Groughes and groans - apparently, constipation. Having wiped himself, he immediately washes the toilet with a brush, wipes the seat, opens a small window to ventilate. The organizers of the festival were very afraid that this scene would cause a big scandal among the Moscow theater community (not a single NET in recent years has passed without a scandal), but, oddly enough, there was no noise, and the “concert on the request” of the sophisticated theater public liked more than the spectacular “Nora”.

Oscras Korshunovas brought to Moscow Romeo and Juliet - the very performance that was made by the Avignon festival by order of the Avignon festival last year, but because of its cancellation was never shown then. In the Lithuanian version, the Shakespearean tragedy is also overturned in modernity. Here the warring clans are rival families of bakers, the stage installation looks like two huge, dishes of metal kitchens, and a blond Romeo and a red -haired little Juliet in a dress in a flower - just the younger ones in the companies of a broken "factory" youth. At first, a funny competition of the Montecca and Capuleti families seems fun: flour flies, and bakery is measured by huge phalluses, blurred from dough. But gradually, hefty kitchen knives, and the killed Tibald with Mercutio, and behind them, and the main characters with faces whitened by flour, seem to be characters of ancient tragedies in masks of sorrow. Criticism found in this performance some superficiality and monotony of techniques, but nevertheless, she could not resist the charm of the actors, as well as the rapid, energetic rhythm of the production. For something, and Korshunovas owns the profession as few of the Russian directors of his age. Yes, and those who are older, let's say honestly.

Neta's main surprise was the “ seagull ” of the completely unknown thirty -year -old Arpad Shilling in Russia, played on a small empty piece of the scene surrounded by spectator seats. The frank simplicity of this theater was almost shocking: the actors dressed in what they came to the performance today walked before the performance of the foyer along with the audience and took places in the forefront, from where they began to lead their dialogs. And there were no bow in the final - the audience met the actors already in the lobby, where they stood, holding a coat in their hands, like spectators gathered to leave. No scenery, props, special light, Nina - in jeans and a short knitting blouse, Masha - in a black dress with trousers, an elderly complete arcadin with habits of a bohemian star - in trousers and a decolled sweater that slides from one shoulder, then from the other. There are almost no changes in the play, except that some very noticeable bindings were reduced to the times of a year ago. The rest - according to the little things: Sorin was called not the real state adviser, but the chairman of the culture commission, the trigorine whisper that he is a foreigner (he is really played not by Hungarian, but a German actor), a young spectacular Polina is considered not a mother, but a stepmother Masha. Actors play wonderful, but the best thing that is in this performance is how they can create direct and intimate contact with the audience, each of which feels that he is also one of the participants in the life of this house: they tell him, they consult or flirt, they ask him about something. Of course, if this performance played on a regular stage such an effect would be impossible.

Well, what can I say: Net brought the unconditional European hits, and after the brilliant program of this year, in which there were neither failures, nor even passing productions, the prestige and weight of this small private festival in the general festival movement should greatly grow.

And, finally, about the nyakroshus , which covered the premiere of the Stanislavsky season. For the sake of this event, the organizers of NET even pushed the performances in their program, realizing that the festival audience first of all rushes on the "song of songs".

It seems that the next premiere of Niacroshus caused both fans and among critics, primarily confusion. This performance looked like a clear continuation of last year’s seasonal epic of Donelaitis, but was made even more simple means, just like a children's game. On an almost empty scene with empty hands. Nothing but young actors dressed in the most ordinary costumes: dresses, trousers, shirts. All that is needed, they composed from those objects that in any house at hand: paper, threads, rope, apple, knife, some sticks. The rolls of paper are the scrolls of the sages, and the pipe, and the oars, and the organ, pulling the ropes, indicate the house, weaves weaves from the threads.

The nyakroshus puts the "song of the song" as the story of the village love of a thin girl with huge eyes and high awaver. Meetings and partings, attempts to attract and the desire for independence, the beginning of love and forcibly separation. For the most part, this story develops without words, but at those moments when simple -minded heroes begin to speak by the elevated erotic language of Solomonova’s song: “Honey and milk under your tongue, and the fragrance of your clothes is like the fragrance of Lebanon!”, The scale of the love story increases many times. The speech of the heroes is full of Old Testament metaphors, they compare each other with animals and plants, and the nyakroshus immediately turns them into those that are mentioned. The girl becomes a mare, which is caught to pin, and the young man - a falcon caught for ringing. And nothing is needed to turn into a bird: he put a hook knife to his face with a steel braid - that’s the beak. But it seems that the "confluence of the" nyakroshus "into simplicity" is really perceived by many as heresy - I have never seen so many people left the performances of the famous director, as these days from the theater hall of the House of Music. Although the performance goes without intermission only two hours

In the last two productions of the nyakroshus - according to the Donelachit and the song with a song - the director turned into some new side. As if his outlook on life has changed. Not that he began to like her - the performances continue to remain tragic - but he simply began to accept her. He talks about flowering and wilting, love and death, and for this he no longer needs plays with a skillful intrigue. He takes significant pra-texts and spiritualizes simple stories with them, giving us an understanding that the next human life is deep and magnificent.