W. Shakespeare "Hamlet". Translation by Andrey Chernov. Staging and scenography by Dmitry Krymov. Stanislavsky Theater A new translation of "Hamlet" by the poet Andrei Chernov formed the basis of the play, the directorial debut of the artist Dmitry...

W. Shakespeare "Hamlet". Translation by Andrey Chernov. Staging and scenography by Dmitry Krymov. Stanislavsky Theater

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A new translation of Hamlet by the poet Andrei Chernov formed the basis of the play, the directorial debut of the artist Dmitry Krymov. In the black canvas of the backdrop, as in the stone of the castle wall, two rectangles are cut - the Arch and the Bojnica. Black sweaters, frock coats, mantles, veils, Claudius' tuxedo and Ophelia's corsage, the Prince's white shirt and King Claudius' silk scarf cut through this backdrop. There are almost no other color spots - the more piercing yellow are the chilly grasses whipped by the seaside wind in the palms of crazy Ophelia.

All objects, black spots and nebulae are sharp and concise. So even a black Viennese chair that has fallen on the proscenium from someone's movement seems like a surreal wooden clock without a chain. The cover is thrown back, instead of the dial - cosmic darkness. Or the muzzle of Elsinore's castle cannon.

The text of "Hamlet" by the power of things is akin to a fortune-telling table. In the black-on-white lattice of replicas, as in the white-on-black network of bone cracks charred in the flame, everyone sees his own. In a laconic, very restrained black and white performance, new meanings of lines and monologues emerge. They are interesting to think about. (The translation by Andrei Chernov has just been published as a separate edition in the Moscow Isographus with the participation of the Parisian Syntax. The text of the tragedy is accompanied by a commentary and two studies by the author. The hypotheses of the poet and philologist Chernov, as always, are paradoxical and informative.)

Claudius is very good here - Nikolai Volkov. The sad, noble, cynical and cozy lordly ruler-fratricide, perhaps even changes the location of the stars on the map of the tragedy. Everything that happens begins to seem like a devilishly precise chess game, a palace intrigue of a gray-haired politician, with the help of which a highly experienced ambitious person removes all obstacles on the way to absolute power: both Gertrude (Tatyana Lavrova), who is confused and emasculated by the secret vice of drinking wine, and Polonius (Boris Romanov), a gray-haired court intellectual , starting his game with mouse dashes around the throne ... And Ophelia with the new heir to the throne in the womb.

Good and Ophelia - talented Irina Grineva. Excitement and a completely modern drive of betting on the best groom in Elsinore, a little bit stupid girlish delight in exquisite sarcasm and a rejected right to the throne, and sincere love for Hamlet are subtly mixed in her game. After a textbook explanation (“Go, go to the monastery! And if you can’t wait to go down the aisle, go for a fool”) Ophelia falls into her father’s arms - and almost epileptic convulsions, holy fools of rejected passion shake the body of a young blond lady well-bred to the marble coldness …

In the scene of madness, when the black silks of the crinoline (already swept over by the yellow clay of the off-road field) stray to the side and lift up, one can see severely, beggarly bandaged legs to the knees. And - again, the phenomenon of directing the artist! - these vagabond rags of her bandages fill the heart with pity more acutely than muttering about herbs, the list of which the viewer knows by heart ...

The Prince of Denmark himself, Valery Garkalin, treats this role as if it were some ancient precious ark. The presence of content in a closed ark and its, let's say, sacred character, are not even subject to doubt and discussion. That is why it is impossible to say anything definite about the contents of the reliquary.

A restrained, sad, very well-bred performance sometimes seems to be a form of commentary on the text. However, commenting on a text of this level is no easier than knowing the nature of light or time.

“...The goal of the theater is a mirror. Virtue must recognize itself, vice must be horrified by itself, and the age, whatever it may be, must be imprinted, ”Hamlet tells the actors in the first scene of the play. Horatio mutters the same words before the finale.

The age is imprinted. As is, with a dislocated joint. The dress rehearsal of Hamlet at the Tverskaya Theater ended thirty minutes before the start of the nightmare at the Dubrovka Theater Center.