| NET festival is over For six years now, its organizers have been bringing to Moscow or collecting around the capital what they consider “new and European.” And every year after the closure, critics try to catch the features of this new one. During this time, they discovered everything - either they would be offended by the lack of spirituality and deliberate gloominess, or they would declare the death of the text and the triumph of visuality, or, on the contrary, they would be surprised by the verbiage... Despite the limited number of participants, their combination each time turns out to be slightly (or not slightly) different. This season, the new theater mainly features classics, but only transformed, shortened, modernized - this is exactly the form in which Shakespeare's Romeo and Juliet (directed by Oskaras Korsunovas, Lithuania) and Ibsen's Nora (Thomas Ostermeier, Germany) were brought to the festival. , “The Seagull” by Chekhov (Arpad Schilling, Hungary) and even “Mr. Carmen” based on the story by Merimee (AKHE Theater, Russia).
Another trend: the new theater, while maintaining its inherent rigidity, becomes more and more sophisticated and technically advanced, which, on the one hand, gives the joy of enjoying art (in the original sense of the word), on the other hand, distances and weakens the spontaneity of the impression. And so it wasn’t scary, but now it’s rather joyful - well done and masters.
And the third remark, more specific: in previous years, the Russian headliner of the festival was Evgeny Grishkovets, with his premieres (“Dreadnoughts”, “Titanic”, etc.) adding specifically Russian warmth to the European coldness of other participants. This year he was replaced by a new artist-storyteller - Ivan Vyrypaev, who staged the play “Genesis No. 2” especially for the festival (characteristically, with the support of the Stuttgart Theater der Welt). And he proposed a biblical story in a harmonious theatrical arrangement with musical accompaniment from Brahms arranged for the button accordion (accordion player Aidar Gainullin).
Despite the story preceding the performance about a patient in a psychiatric hospital who sent Vyrypaev her dramatic experiments, which served as the basis for the play, there is nothing heartbreaking in it: in terms of the level of relations with “damned questions”, “Genesis” is quite comparable with “Oxygen” by the same Vyrypaev - there is perhaps a little less energy, the culture of performance is a little more subtle. If Antonina Velikanova actually exists - and the creators of the play assure that she does - she still remains a character in this performance, and not its author. Just as director Viktor Ryzhakov is not the author in the full sense, his task is only to restrainedly and compactly embody on stage the rhythms and intonations of Vyrypaev, this time as if he stepped aside and accompanied his partners with special speeches about Pal Ivanovich in Russian bast shoes.
The reception in the play is more important than the meaning, in the text of two characters - God and Lot's wife or Doctor Arkady Ilyich (“Hello, I am your Arkady Ilyich!”) and Anna Velikanova, who bicker about whether God exists (“Yes! No! Yes ! No!”) and whether there is “something else” left when it all ends—you don’t have to listen. What captivates us is something else - not the stage devices (they are simple), and not even the acting (although the duet of St. Petersburg resident Alexander Bargman and Irkutsk resident Svetlana Ivanova is very interesting to watch), but the cheerful playfulness that is so charming and genuine in this musical rather than literary composition . Actually, this rhythm, signature, already - from the second time - recognizable, is the meaning, it puts the words and the concepts behind them into a new sound reality, which is why the old meanings change, and instead of boring cliches, “something” appears in them something else." Still hooligan, but in new, European packaging.
It remains to add that it was possible to bring and show eight festival performances to Muscovites with the financial support of the Hennessy socio-cultural fund, the Goethe Institute, the French Cultural Center, Bokov-Factory, and the Investkapstroy group of companies. Alena Solntseva |
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