Maya Mamaladze. Europe on the Web. Authorization

Unified theater network

E , a more successful name, the founders of the NET festival could not be invented. Firstly, the abbreviation of the words "New European Theater" in the title of this festival sounds equally in Russian and English. HET/NET and a more functional second meaning arose, created by the abbreviation and familiar to all users and the NOT - "network". Participants in the festival show the Nettheater - weave a single network with theaters of New Europe. Although is it one? After the fall of the Berlin wall, the old light changed, but whether the West went east, and even more so - east to the west: this is still a big question. Similar festivals, the subject of which are made experimental research of directors of a new wave, were and is in many countries of Europe. So in 1998, the efforts of the critics of Natalia Yakubova, Alena Karas, the novel of Dolzhansky, Marina Davydova and producer Vasilka Bumbarova arose and the first NET , a normal working festival, to see and show themselves. They did not thank them for this, the first two festivals criticism drowned together, although it was then that the festival was opened and moved to the popular favorites Evgeny Grishkovets.

Since 2000, the situation has changed dramatically. Everyone suddenly realized that the new theatrical art is prestigious, it is fashionable, and for this you even have to pay money. The site of the third NET has become a futuristically magnificent center named after Meyerhold, the main producer - Eduard Boyakov. And with criticism, things went well.

Now, on the fifth NET , at a press conference we read in the release: "Grzegozh Yazhin made almost the most brilliant career at the European Theater of the late 90s." Next, we turn over the page and read: "Thomas Ostermayer made the most brilliant directorial career at the German Theater of the 90s," and just before that the play "Shopping & Fucking" Mark Ravenchill-"Has almost the most famous modern play of the 90s" was stated. The release, apparently, was printed in a hurry, it was not up to the style, but the main thing is precisely what it turns out when looking at the NET poster of this year. Born in 1966, Ravenhill has now entered the college program. Ostermaier, born in 1968, the laureate of the European -theater Award, his peer yazhin leads the Warsaw Theater "Rosmitoshchi", Ivitsa Bulian born in 1965 leads the Zagreb festival, and Andrei Zholdak, born in 1961, - the former Berezil Lesya Kurbas. There, in Western Europe, a generation that determines the cardinal line of the theater is younger than here. The eldest son laughed with a laugh at the accidental conversation of theatrical producers: one says the other: "And we also cooperate with NET , this is such a glamorous festival." Who would have thought? When it all began, the editors of the capital's newspapers could not be persuaded to take the material about him! Who needs some kind of theater laboratory of theater search and avant-garde, they shrugged their shoulders.

Who is who

Arrived with two performances of the Kharkov Academic Theater. Shevchenko Andrei Zholdak -Tobilevich IV (the fourth in the theater dynasty - as in the Japanese tradition, for example, Nakamura Gandziro III) will be perceived by a large part of the Ukrainian theater society as the heir and the successor of the tradition of Lesya Kurbas . What does this name mean for the Ukrainian theater, you can imagine, even if the main theater festival is called "Bereza╗lla" . What can be seen immediately from the performances shown: "One Day of Ivan Denisovich" and the second - "Hamlet. Dreams". Zholdak uses the text only as an auxiliary material for its own directorial reflection and composes the score from a long string of images and metaphors, often slurred and seriously readable. In addition, his productions are constantly appealing to the leading directors of Europe, and the memory refers us to the nyakoshus , then to Martaler , then to Dance Sontemporary , especially to Pina Baush to the German cinema named after Leni Rifenshtal , then to Parajanov . From the latter, one technique was constantly borrowed: the theater in the cinema, when the static theater picture falls on the screen. At the Zholdak - on the stage, so it comes out the other way around - a movie intake in the theater. But he abuses this technique - and not always interesting, although sometimes the picture turned out to be of high quality. One of the most unpleasant impressions was the completely immoderate praise of the head of the Kharkov troupe by quoting criticism and himself in programs. From the Zholdak: “The artists are magnificent, but they never worked in modern aesthetics and do not possess those super -scurry of the game that are needed today <...> very few of them are able to speak so that everything spoken on the stage is naturally lived and experienced. The artists recite, fall into false pathos. Therefore, I removed the words.”

By the way, about false pathos. How great he worked in the “one day ...” a patch, stuck on his eyes, then on his mouth, as he accurately conveyed the atmosphere of the era when they could not speak and cram from grief. But when there were a baby in a cage forced to mate, moreover, in traditional costumes bunnies from a kindergarten in the matinee ... These are already punches below the belt. And the most impressive in the performances were these very artists of the Zholdak troupe: youth, small children, old people (many of them had the titles of “Honored” and “People’s”), dousing with water and then running in foam and naked, throwing their underpants and lifting skirts. Clearly fulfilling everything, sometimes crazy, the requirements of the director. It was they who forced to believe that there is something in him, since he is able to fascinate them and leads along.

Ivitsa Bulian, unlike Zholdak, presented a quiet directorial work. His presence in the play is unobtrusive and hidden behind the figures of the author, artists, musicians and artists. The author of the play, the Swiss neuromantic Robert Walzer wrote a non -casual continuation of the "Snow White", in which there is no mutual love with the prince and the punishment of the queen, and the Snow White itself is a nervous incompetent creature. Veronika Droich, who played her, is the best that was in the play. It resembled an old doll with a porcelain face, by the way, under a dress (the wonderful costumes of Anna Savich Gsets), special thick pantalons were visible, as if her rag legs were full of cotton wool. With manners and pose, it resembled porcelain figurines and figures from French tapestries. And in the play there was no actress, the performer of the role of the queen, she suddenly fell ill. It was supposed to replace the director, but as a result, the reader Sinopsis Arina Marakulina, actress of the play "Oxygen" played.

Alvis Hermanis opened us at one time precisely NET. The "ghost train. XX century" shown at the second festival, completely unexpected sounded like nostalgia for the seventies, in the USSR. The plot was as follows: on the railways of the world rolled a train-fanta, and this phenomenon with respectful food for scientific and technological progress of developed socialism was ridiculously studied with the help of a bunch of pseudo-scientific devices. The text of Hermanis himself to the performance, voiced by real Russian-speaking pensioners-rizhans, sounded like a pseudo-documentary drama. This time, the “auditor” he presented, was also nostalgia for socialist, despite the fact that it appeared in the form of a soviet life condensed to the absurdity. The regional workers in hand with puffy catering workers sweep away the coveted food from plates, change the workers whites to variegated chintz robes, go to a pledged toilet for common use - everyone dreams of a bright future under a monotonous musical theme of "seventeen moments of spring." Moreover, all the characters, although grotesquely exaggerated, are recognizable and touchingly harmless. It is funny in this system of soviet images Hermanis presented a vapor couple. The Osip in the Clash trousers and the unchanged guitar is the spilled participant of VIA (who does not remember - the vocal and instrumental ensemble) of the restaurant fraud, and its younger master is the Beitrite of the era of the seventies. The grotesque transformation of a dream in a phantom in the person of Khlestakov, or a giant chicken that came to the final banquet, speaks only of the terry absurdity of that life and that dream. In general, with all the wit, the director’s reception is monotonous and drawn to the text forcibly, which is why many of the textbooks of the author have disappeared as unnecessary.

"All for sale" Grzegoye Yazhina

Even if the NET festival showed only “Psychosis 4.48” in the production of the Grzegozha Yazhina - it could be considered the held. Yazhina, who has arisen all the previous NET -festivals - we never saw him "Ivonna, the Princess Burgundy" according to Gombrovich, and the "celebration" in Vitenberg was not a pocket of even the Chekhov festival - he arrived with the performance with which it was worth starting his acquaintance.

"Psychosis 4.48", in fact, the suicide note of Sarah Kane , written in the first person with rhythmic prose with the interspersed of short dialogues. Thus, she slammed the door loudly, and two days later, at the age of 28, hanged herself in the clinic. Her last confession, the fierce denial of the existing world and a revelation without brakes, without looking back at the shame before self -disclosure, the yazhin laid out on the faces and scenes, turning (first of all, with the help of the Malgozhayat Malgozhais sciences), this is a passionate dramatic essay into a theatrical action. The heroine of the Yazhina - strictly speaking, the author of this work is not really existing, but the conditional "Sarah", the same age and compatriot of the Polish director and potential spectators of the performance created by him. We also see “creatures” (two of them - male and female), in relation to which the heroine experienced a burning need to be loved , and we were given to see how they did not give a damn that she was dying . Either a terrible little girl comes, then a naked old woman, a crazy patient of the clinic, passes. The reverse sides of one medal, two inevitable phobias of female psychosis are regrets about lost childhood and fear of inevitable old age. Showed by "Doctor that" and "this doctor, like him there." The latter is located behind the glass wall of the clinic, in which Sarah lives the last hours. The wall is transparent, the heroine of the play requires that: “See me”, “Look at me”, “Watch me disappear, follow me.”

There, behind the glass, the diagnosis ( "pathological longing", "suicidal thoughts", "paranoid ideas" ) runs along the wall and spreads along the floor with a long series of luminous greenish numbers in the image of a computer matrix. This episode appeals to the film of the Vachovsky brothers and makes a strong impression - as a metaphor for inevitability. "Sarah" is a part of the program leading to its death. The impassive male voice from the speaker counts the program from one hundred to two (the mysterious column of these numbers is given in the text of Kane 100 93 86 79 72 65 58 51 44 37 30 23 16 9 2 , as well as the mysterious numbers scattered in disarray and inspired the director of the “matrix”). The last minutes of life are rapidly expired. Episodes are interspersed with constant immersion in the darkness of the scene, on which points are displayed, folding in a strip of signal lights along the path. In this strip of signal lights, saying the last “Watch how I disappear”, Sarah leaves to get rid of her suffering. “Two ... two ...” - thinks an impassive voice, we will not hear “one”. The final of the performance refers to the words at the beginning of the play:

Remember the light and believe in the light,
A moment of clarity before eternal night.

It is appropriate to recall here that the Grzegozh Yazhin, Christian Lupa’s study at the Higher Theater School in Krakow (like all the current generation of young directors of Poland), in addition to theatrical, has a second higher education - theological.

Mr. Oxygen

Responsibility for the Russian theater, except for the traditional Grishkovtsy with comrades, was the "oxygen" of Ivan Vyrypaev this year. It would be a club performance for two performers and a disc-jockey, if not for one circumstance. Grzegozh Yazhina forced the actress Magdalen Caullets to play the heroine of the play by Sarah Kane, straightened the dramatic essay into frames close to the traditional play. Ivan Vyrypaev and Arina Marakulina are played by Sanka and Sasha, the heroes of Ivan Vyrypaev, the author of the play "Oxygen". They play strangely, they talk about their heroes in the third person. The text, in the manner close to the performance of rap, is pronounced dancing. The epilogue pronounces the disk-leggings, the artists constantly turn into "real themselves."

Vyrypaev is an actor capable of virtuoso tongue twister and a hypnotizing look for force to hear and see himself in any case, he will read receipts for electricity payment or a text of ten compositions that are in vain for the new ten commandments. The style of the Holy Scripture is being imitated, but the "non -biblical" story is told. Sanek from Serpukhov chopped his wife with a shovel to leave for his beloved metropolitan Sasha with red hair. The question is, why buried, and not disappeared, did not leave her to delve into this damn garden? All because he unexpectedly discovered for himself: "In each person, two dancers are his right and left lungs. The lungs dance, and a person receives oxygen."

For a short time, Sanek and Sasha live, deeply inhaling oxygen, and it seems to be for this and it is worth living on this earth. And suddenly the text begins to slip. There are contradictions in which blasphemy (... I have a bad, very bad God, if I am a tree fruit, and they will judge him about him ...) interspersed with revelations and prophecies (... in order to have the right to live on this earth, you need to learn how to breathe air, and in no case do not get hooked on oxygen ...).

Then the heroes seemed to receive amnesia or committed themselves in a strange way (he ran across the wormwood field of the “death valley”, she drank the “Damn wheel” pill), but most importantly - they found conscience. Rather, they found that the main thing on Earth is a conscience. They were like: "They were looking for oxygen in the poisoned air. Somewhere, very far, in cold space, a huge meteorite flies at a rapid speed."

And it is not without reason that the author of the text Ivan Vyrypaev F.M. Dostoevsky (compose something about the old woman hacked by an ax ...) , because Sanek with a shovel is not much different from a student with an ax, as well as an intellectual who decided that everything is allowed. Oxygen in the lungs in excessive amounts of no less explosive than hexogen. They themselves were a shy bomb - Sasha and Sasha, who found a conscience that rushed to them as a meteorite in order to blow up the unjust hexogen world around them, in which they kill, wanting to become free and inhale oxygen.

So what do we have there in the text?

In the course of the festival, it was possible to find out twice how to deal with the new drama in the West. We are talking about meetings with Mark Ravenhill and Thomas Ostermayer .

The author in Britain participates in the entire process of setting up the performance - not only with the director and actors, but also the artist, costume, etc. “They seemed to want the author to get into the head,” Ravenhill spoke about this with undisguised satisfaction. “This is a balm on the heart of the playwright.” Meanwhile, the famous production of "Shopping & Fucking" Ostermaeer, the author appreciated this: "I needed only the text. This idea was that I am a springboard to the performance, I do not attract me." But he hastened to add that the German production was very good and after the first production in England, he liked to see different productions of his plays, of course, and the theater in Germany and England was different.

By the way, the playwright Kane and Ravenhill, like the whole English new drama, is called in Britain the dramaturgy, "[thrown into your face" (although Ravenhill believes that this name was invented by a blank). Having visited this site , you will learn almost everything about it. Ostermaier put both famous British, and translated the “thirst” of Sarah Kane for him the same Marius von Mayenburg , the author of the “fire” and the “parasites”, which Ostermaier put first. By the way, the director noted that Kane was especially important for them by the fact that she initiated the search for domestic playwrights, called for "looking for his own identity."

As for working with the author, Ostermaier almost helped Mayenburg write “parasites”, they were added along the rehearsals. But a similar process does not delight the director, and ideally he should get the text from the author two months before rehearsals and then he can convince him to change something in the play, but in no way to redo it himself.

Ravenhill to an excellent degree responded to the "plasticine" of Sigarev and the "terrorism" of the Presnyakov brothers (both plays were staged in London). He noted the "cold quality anger", and that the Presnyakovs "greatly caught the feeling of fear that our lives permeates." And he certainly caught: life in "terrorism" is a causal path to death.

It is curious that Ostermaier said about the most antiheroic of all the characters of the new drama - the "fire" Kurt. He called him "a private rebel inside his own family, although his parents were not to blame for him." So in 70-80. In Europe, the youth rebelled, exploding from the inside the self -sufficient world of parents, of which there was nothing to blame.

author Net

All the named plays, with the exception of the “thirst” of Kane, and all the above -mentioned playwrights participated in the NET festival. The secret why Net gained respectability in the eyes of the theater press is partly explained by the fact that a new “Beach Boy” appeared - the New Drama festival . Новые тексты отечественных авторов вызывают бесконечное раздражение критики. А почему, спрашивается? Разве наша жизнь не дает авторам от театра повода и желания творчески взорвать ее изнутри? Плохо у нас относятся к тексту. Плохое отношение к авторам. К чужим еще кое-как сносно, а своих и видеть-то не хотят. Могут и вообще забыть, что он жив, как это случилось у Жолдака с Александром Исаевичем Солженицыным .

Но, как ни верти, получается, что новая режиссура последних лет выигрывает тогда, когда находит новый драматический текст. И очевидно выигрывает театр, когда из нового театрального текста вырастает магический кристалл спектакля, решетка которого структурирована тем лучше, чем талантливее визуальные, физические условные приемы постановщика и достойных компаньонов - артистов, художника, композитора и прочих важных лиц, не говоря уж о драматурге. "Психоз" Яжины и "Кислород" Вырыпаева - два удачных примера такой "кристаллизации".

В качестве реплики по вопросу о позиционировании автора от театра на NET e: ни с одним из режиссеров спектаклей представленной программы (а в этом году приехали все!) не было ни дискуссии, ни пресс-конференции.

слов нет

Закусили фестиваль черным хлебом с перченым салом и сметаной (на выбор), запивая водкой с лимонным соком и сахаром. Во время "постиндустриального кабаре" питерская группа АХЕ готовила и фальшивый коктейль из льда, муки, водки и сушеного гриба. Настоящий диск-жокей крутил мощный музыкальный микс знаменитого лейбла "ninja tune". В духе акций нового искусства резали хлеб, вставленный в рамочку, а для того чтобы настругать сало, висевшее между ног на веревочке, залезли на стол, стул и стянули брюки. Стреляли чесноком из рогатки, а в финале устроили настоящий арт-обстрел красным и черным перцем по головоногому гастроному, вооруженному рупором, шумовкой и большой ложкой - его "ахейцы" долго рисовали на большом куске коричневой оберточной бумаги. Все остались довольны, и ничего не надо было называть своими именами. Вот и разошлись по домам.