| "Evgeniy Panfilov's Ballet" dances in Moscow Touring is like a challenge. Touring is like launching an attack. Touring is like a cry: we are alive, damn it! They really were almost buried along with the founder of the troupe, its permanent leader, who died so accidentally and absurdly a year ago - it seemed that this 100% original theater would have no future. Now they have brought to Moscow, to the Theater Center on Strastnoy, Panfilov’s long-standing works (several miniatures, “Romeo and Juliet,” “BlockAda,” “The River”) and the first production of the current artistic director of the troupe, Sergei Raynik, “Black Square.” We started with “Romeo and Juliet” and threw everything we felt and thought into the already furious text.
In this performance, death wanders among people, bringing the heroes together and separating them, calmly peeping at them. You don’t need to look at the program, it says “Queen Mab,” but the tall, flexible, powerful lady in a burgundy dress with a Venetian mask pinned to her shoulder (Ksenia Kopylova) is an obvious death, only she. "Romeo and Juliet" begins with the dancing of the dead (five couples in black), and almost ends with them. The scene in the crypt is designed as an alternate meeting between the unhappy lovers and the dead - either Mercutio and Tybalt fight again next to Juliet (Maria Tikhonova), or Romeo (Alexander Bobylev) faces Tybalt. Queen Mab is always nearby, it is she who brings the poisoned apple for Juliet and covers the dead with colored petals. After the duel, Lady Capulet rushes to one of the buried heroes, throws leaves from her face - recoils: not the one - and runs to the other.
In this Verona, everyone works to death. The nurse turns out to be Mab's servant - she hands over the poisoned apple. The fight between Mercutio and Tybalt is entirely on Mercutio's conscience. (An excellent role by Alexey Kolbin - his hero, dressed in a chicken-yellow suit, is cunning, charming and cruel - where is the simple-minded "jock" Tybalt, played by Alexey Rastorguev.) And it all ends completely hopelessly - no reconciliation of families, two corpses on stage , a snowball flying from above and a wolf howl in the soundtrack.
So, the battle with Mab (death, fate) is always a losing battle?
Netushki. Panfilov's performance is woven from defiantly simple moves: the connection between a man and a woman is indicated by an outstretched ribbon (this is how the couples at the ball are connected by the threads of fate, and by the way, Mercutio and Queen Mab). These threads get tangled in the general dance, intertwine, someone suddenly bumps his chest into the “connection” between two other people - and retreats. There is no special philosophizing in the choreography - what could be more familiar than a soloist jumping over an obstacle as if through a window (Nijinsky will be remembered by everyone, even non-balletomanes). When, after the meeting of Romeo and Juliet, they hide behind a screen and another couple comes out instead of them, leading a more gentle duet that almost trembles in the air, such a move cannot be called a novelty, can it? But the fact is that it was precisely this simplicity that Panfilov was never shy about. He knew that ahead there was cold and a wolf howl. And he was sure: only eternal, simple things can resist him - clear theatrical moves, subtle emotional connections, the virtuosity of soloists, the changes made in people by love; a troupe that always - and especially now in Moscow - works as if it were the last time. And it seems that this ensured the theater the possibility of a long life. Anna GORDEEVA |
|
