Seven weeks of a continuous theater

That crazy one and a half -month marathon of theatrical stars, which conceived to its first anniversary "Golden Mask" looks like our answer to Chamberlain, where in the role of Ch. - Chekhovsky festival, once every two years bombarding Moscow for foreign masterpieces. The idea of ​​anniversary weeks was this: from the beginning of February and until the opening of the next “mask” (the festival begins on March 27, on the day of the theater) in Moscow the best “masking” performances of the last ten years will be shown. On the way, one of the originally conceived was lost and settled: it was not possible to bring Mariinka's performances during the anniversary seven weeks (her touring schedule is tightly clogged), they abandoned the Chekhov trilogy of Dodin (MDT wanted to show his entire repertoire, and this had to be postponed for the summer). The arrival of the huge complicated design of the play Loco from Germany turned out to be too expensive, and the Ahe group instead will show a compact "wet wedding". And still, the festival promises to be very good. The most wise decision of the organizers was the unwillingness to arrange a parade of winners: everyone knows that the issuance of premiums is a compromise process, and it happens, a year later no one can remember what the play -laureate looked. Not the most crowned, but the brightest, expressive and beloved will come to Moscow. Now inhale deeper and sit down more comfortably: I will talk about everyone you have to see.

The race will begin with three performances of the inventive and energetic Boris Eifman, which will show the big on the new stage. One of the most famous domestic choreographers, the head of the Boris Eifman Ballet Theater in St. Petersburg, was more than once ridiculed by criticism for bad taste, straightforward symbolism and craving for cheap effects. But, probably, for the same qualities that critics are slandered over, Eifman is loved by the public - with the devotion and passion, which only ballet fans are capable of. However, the troupe of Eifman is really excellent. Moscow tour will begin with a fun play “Who is who” - to the music of Ellington, Rachmaninov and many others. This is a premiere that has not yet been seen in the capital - something clumsy like "only girls in jazz", where instead of musicians - emigrated Russian dancers. But then - take care! - “Russian Hamlet” (about the unfortunate, suffering and incomprehensible Paul I, whose depraved mother Catherine was dancing at the time of Volochkova) and “Red Giselle” (about the Russian ballerina Svesivtsev, who emigrated, but nevertheless was brought by infernal Chekists to madness).

Further - also in February - the Shakespearean program of Emuntas Nyakroshus. Three masterpieces - Hamlet , McBet and Othello - who have already come to Moscow, but nevertheless mandatory for re -viewing. About these three performances of the brilliant Lithuanian metaphorist, it is worth telling separately, but for now I draw your attention to the fact that the current “mask” all passes under the flag of the nyakoshus: its first Moscow production - “Cherry Garden” participates in the competition (and has a great chance of victory), and the festival of Vilnius dilogy “The Seasons of the year Draznelitis”, which is of criticism of criticisms of criticism It was recognized in Russia as the best foreign performance of the year.

In early March, on the stage of the Meyerhold Center, the “wet wedding” of the Russian Engineering Theater Ahe, a radical St. Petersburg team, which recently became famous in theatrical circles, but already received the “golden mask” in the “Novational” category, will be shown. “Achaeans” - artists Maxim Isaev and Pavel Semchenko - builders, alchemists, hooligans and philosophers - create an extremely expressive, changeable and dangerous environment on the stage, where everything flows, burns, explodes, smokes, shines and crumbles into pieces. There, artists themselves are creators and demiurges, and other actors are experimental creatures, which, as a result of tests, may become real people. In fact, a “wet wedding” was shown at one of the Hermitage carnivales during the theater Olympiad, but the current performance is listed as the “Russian Premiere”-it means that we will be shown some new option.

After Ahe, another St. Petersburg (however, now a German) team will arrive, which is radical and twice claiming the innovation award, is the "tree" theater. In St. Petersburg, according to the old memory, they are considered a cult, but to date, radicalism in the "tree" is few. The ideologist of the group Anton Adasinsky, obviously, grew out of the Polunin clowning, from where the roots of almost all St. Petersburg avant -garde artists are coming. Only in the "tree" all this clowning most often is of a meaningful and gloomy-dvyvolsky character, and is even crossed with the Western tradition of the "physical theater". Frying, spectacularly shaved fours of the actors of the “tree” - really in excellent sporting form, but it is impossible to take their performances seriously as plastic - for this they are too little -sounding. You can make sure of this at the play "Islands in the Ocean" - a sweet set of studies on sea topics - which came to the last "mask". In addition to the "islands", the "tree" will bring three more non -yen productions: "Horseman" , "Red Zone" and the monoscope of one of the actresses of the theater Tatyana Khabarova "Reflection" .

The next name in the festive set is the day of Evgeny Grishkovts. Within one day (March 13), adored by the public and criticism, the New sentimentalist will show all its performances, starting with a long time to play "how I ate a dog" , from which the Moscow glory of the drama actor began a few years ago. The "dog", recalling the service in the Navy, will be followed by the existentialist "simultaneously", then the Planet is a play about love, played together with Anna Dubrovskaya. Then - "Dreadnought" - a performance for women about men, about heroism, glory, and most of all - about the fragility of life. And already at night, together with the Bigudi group, the Grishkovets will arrange a club concert after work ” - an easy and optional melodeckamation of careless idleness, which sometimes really wants.

The jubilee marathon continues with a real ballet - the Novosibirsk Opera and Ballet Theater will bring Deliba , not the editorial office that is dancing everywhere, but a meticulously restored petition in Mariinka is a very sweet and stylish sight.

Behind him again the "big" theater - Sakha Theater named after P.Ounsky will bring three performances from Yakutsk: “King Lear” , “Harded Blue Brega” and “Olonho” in the production of a long -standing graduate of GITIS Andrei Borisov, the head of the theater and part -time - the Yakutsk Minister of Culture. The “desired blue gingeen” according to the story of the Aitmatov Genghis “Peggy Dog, running the edge of the sea” - the most famous production of Borisov, which he released 25 years ago as his diploma performance, received state aid and recognition throughout the world. The ascetic and full poetry "Blue Coast" about a boy who almost died in a fog was made as an ancient northern parable - cruel and piercing. However, how such an old performance looks now - I will not undertake to suggest. The strange, dark, shamanistic “king of Lear” also sent somewhere far from the Middle Ages, to the gloomy archaic, to the myth. And the recent Olonkho is a massive and heavy Yakut heroic epic about the goddess -Bogatyrsha Kys, in the role of which is the majestic Stepanid Borisov - an actress and a much touring singer, owning the technique of throat singing. I must say, when this performance came to the “Mask”, something was excessively, demonstratively exotic, similar to the Eastern Theater for tourists or a performance on the Soviet month of friendship of peoples. Nevertheless, strong, impressive moments, especially among the grandiose Borisova, were too.

From the "Modern Dance" at the anniversary festival, the most famous choreographer Modern Dance Tatyana Baganova is presented in Russia. Rather, her theater "Provincial dances" from Yekaterinburg. He shows two one -acts - "wedding" and "maple garden" . The "wedding" of Stravinsky looks unexpectedly chamber, without ordinary ecstasy and ironic fracture. She does not stick towards ethnography, ritual, as is often the case, but retains the home atmosphere of the wedding in the house, touched by uncomplicated and very theatrical primitivism. The “maple garden”, made four years ago, by order of the American dance festival, which once received a “mask” and caused universal enthusiasm - an exquisitely meditative sight full of humor and poetic absurdity. In essence, this is a fairy tale, where the perfumes of forest, birds, autumn leaves mixed in the languid-erotic atmosphere, and men tie women by the hair to the branches of trees so that they would not fly away.

In the last anniversary week, the Golden Mask demonstrates its last project - the favorite brainchild of the director of the festival Eduard Boyakov - the "new drama". Of the four Russian cities, productions will be brought to Moscow, which had the greatest success at the last "innovative" festivals. Firstly, from St. Petersburg - two performances with Alexander Lykov, both according to the plays of the theater experimenter Klim. "The active side of infinity" (according to Castaneda) is a duet with Dmitry Podnozov. And a monopiece "I ... she ... not me and me" , written specifically for Lykov, is essentially a psychotherapeutic work for an artist in a crisis. Lykov, by the time of the release of these performances, was famous only as the Casanov series that had left the "cop", and few could have imagined what he was in the theater. It turned out - completely stunning. Full of passions, madness and at the same time subtle insight of monologues, which Lykov shouting at a frantic speed and unprecedented intensity, are able to bring the susceptible viewer to a heart attack.

The Kemerovo Theater "Lodge", created once by the Grishkovts, and then left by its leader and nevertheless survived, will show two charmingly direct performances "Coal basin" and "Planet of unknown forces of goodness" , captivating the arrogant Grishkovtsky combination of simple -mindedness with cunning. I must say, the “coal basin” is positioned as a performance made in the currently fashionable technique of “documentary drama”, that is, based on real interviews with the miners. But the situation in the play is so bizarre absurd that it is completely impossible to believe in its documentary. Which, however, does not spoil the impression at all.

And two more theater will demonstrate the opening of the last festival "New Drama" - the Dramaturgi brothers from Togliatti Durnenkov. Their ironic-abedic and fantastic plays with their language games, sudden stylistic clashes and the murder floating to reality are a little reminiscent of Vladimir Sorokin, although they look less sophisticated and shocking. The play "Cultural Layer" will be brought by the same Togliatti theater center Golosov -20, which opened the Durnenkovs (the youngest of the brothers - Mikhail will play in the play). And the chamber theater from Voronezh will show the Two Little Plays set by Mikhail Bychkov, one of which is “in the Black and Black City” Vyacheslav Durnenkova - “Village Play”, swollen with a terrible mystical tumor. In addition, the chamber theater will also bring the play of the Grishkovtsy “Winter”, but this is already part of the competitive program of this year - it will be shown on the opening day of the festival, March 27.

That's it and that’s it. Did you impress you? Then I advise you not to postpone the trip for tickets - the demand for them is now large. And to those who do not go, I promise to talk more about the most interesting in the course of the matter. It will be enough.