At all and not quite theater

It happens the same: not a single premiere, otherwise they fell one after another. In February, theatrical critics invented non -existent events, and in March they are already choked, not knowing where to run before. Yesterday, for example, I was in a row at two performances, which in February I would have enough pleasant memories for a whole month. I’ll tell you about them right away, because both go around the “not quite theater” department, which is now more interesting than the “completely theater”.

Writer and singer

In the morning there was a show of Peter Mamonov, who was preparing at the Stanislavsky Theater of the next performance, “Mouse, Boy Kai and the Snow Queen” (as a genre, it was: “Ballet”). At first they explained that this is a technical rehearsal (this was clear from a heap of technical workers bustling on the stage), but then Mamonov said that everything would remain something like this. So I won’t give out my story for the review (the premiere is scheduled only for March 8), and what was improved, you yourself will see in a week.

So, the content of the performance is the last two albums of Mamonov. In the first act - "mice", and in the second - the freshest, "green". Peter Nikolaich here, as he says, for the first time completely reconciled with the will of the directors, does not pretend to anything and is engaged only in the main thing: he sings and dances. But around Mamonov, the directors boldly embroider patterns with a cross. It looks like this: on the stage, a girl in a tight silver overalls walks back and forth (“Yeah, we think,” the Snow Queen! ”). Behind her is a full bald man in a suit and tie. A huge piece of mirrors sticking out in his back, sticking out with a sharp angle from his chest ("Kai" - we realize). And there is also a mysterious character with a huge cracked egg instead of a head (we guess that this is someone called an egg in the program). All of them do different movements who can do something: they wave with oars or inflatable balls, stand, sit, perform dance PA. And all this, perhaps, symbolizes something, but in my simple-minded look it looks quite pointless.

The directors are the Group “Own” (screenwriter Marina Potapova and director Sergei Loban), who were formed into the peppy movement of Zaibi (“For anonymous and Free Art”), are now tired of anonymity and decided to become famous. They formulate the idea of ​​their performance as follows: “A fairy tale about Kai's snowy Queen. The story of Kai’s futile trip to the queen, in eternity. Everyone knows what happened to the girl Gerda, with what difficulty she went to her happiness. But about what happened to the boy Kay, we find only fragmentary information: I got ice fragments and shed in my heart and shed in my heart and shed in my heart and mention The castle was saved here.

The group “its” brought to the performance of a graduate student of A. Podolsky, depicting Kai, and an actor from the theater of facial expressions and gesture of Aguf, acting as an egg. The Blind Art Group, also participating in the project as a collective choreographer, provided the Snow Queen - Anna Kuznetsova, which was covered in silver, called without complaints: "Interactive biomechanical unit" Ivanovna Kuznetsova ", which is a high -tech device capable of interactive interaction with the stage environment Through dance. " Indeed, the “unit” produces some slurred dance, but apparently, interactive interaction with the environment remains behind the scenes.

All these patterns around Mamonov would not at all cost a conversation (they were not very distracting attention) if Pyotr Nikolaich did not say at a press conference that he was tired of being alone and how glad he was that he had finally met good people. I hope that good people have already been said enough, and now about Mamonov.

Mamonov is equal to himself. He creaks and grunts: “You sleep for the whole night, otherwise you won’t sleep ...” “mutters:“ It seems to me that I, too, is sometimes sometimes ... ”Brows:“ Maybe I wouldn’t drink these 14 bottles of beer? ” “Oh,“ Oh, how would I want someone to observe my inner life ... ”Groups:“ My tongue has all dry in my childish mouth ... ”Fucking, writhes:“ I can’t touch you on the Internet ... ”“ The Sun, well, where are you, he grows up in a tone: “There will be a tone immediately!” And suddenly it is licking like a dry branch, - hands carrying hands in one direction, legs to the other. Fascinating. And all this nonsense about the fact that Mamonov is the inner voice of Kai or that the fat man Kai is the nightmare of Mamonova, no longer matters. "I am such a special uncle, I lay in the dust for many, many years, so you don’t need to shake me ..."

Someone asked at a press conference: "Why are you at the poster of the performance in shorts?" - "Because I am so small, defenseless, green and it is not known who. But I am a person, and I can even scream!" The lyricism of this performance of some kind of very special quality, Mamon cries and screams about love and sympathy are piercing, and he, of course, is a real theater, without any pretentious dance of the Andersen “support group”.

And you know what would be great? "I now have a desire to sit down, put a tape recorder and tell the stories that I have seen in my life. There used to be conversational records?" - Distributed at the press conference of Mamonov. That, indeed, someone undertook to record the album of such shoes. And then from this material it can be a great performance. Only, please, One-Men-Show, without any stupidity.

Artists

In the evening performance was the "Wet Wedding" of the St. Petersburg group Ahe , who came to the anniversary tour of the "Golden Mask". It is a pity that the Masca was not able to bring “Sine Loco” from Germany is a grand performance that received the innovation award last year. It was played only in St. Petersburg, and to Moscow to bring the installation, which occupied the entire 50-meter length of the LenExpo pavilion, was no longer enough money or opportunities.

The “wet wedding” was played four years ago at the Theater Olympics, on the street, in a narrow gap behind the Hermitage Theater, and then it was a completely different sight than now, on stage. Since then, some episodes have gone to other performances (in the "Sine Loco" I recognized the "wedding" scene where the heroes were dipped in bright "paints": yolk, flour, soot). Other, quiet and subtle episodes appeared only in the "theatrical" version - no one would notice them on the street. As the authors themselves said, Maxim Isaev and Pavel Semchenko, the street theater is more striving for destruction, because the "joy of destruction" is a basic thing (Helpers passed by the urn and kicked). And in the theater I would like to build more.

Well, they built a whole world on the stage of the Meyerhold Center . In essence, they showed a laboratory for the manufacture of people, the workshop of the gods. Maxim and Pavel again performed in the most picturesque form-some inconceivable skirts, jackets and hats, bearded, with painted faces (Maxim even painted the hair in red). Again, everything is blushing and smoking, blocks move again and objects fly away on the ropes, a large pool in the middle of the scene, and bags are suspended on the balcony of the second floor, from which instead of a shower will be dug in a rain of sand, flour, rice and expanded clay balls. The workshop of the gods looks clumsy and crooked - everywhere homegrown ropes, boards, brooms and sticks. But this is what, as the artists of Ahe, show, is truly beautiful, because we have objects that have a life story: with rusty drums, a lime plaque, peeling paint and cracks, like wrinkles.

This time, two played with Maxim and Paul: Barbara Seyrter (a German actress participating in many performances of Ahe) and Alexei Merkushev from the theater "Tree". They were the very couple that from some unconscious human embryos turned into people and connected for further life.

A man is pulled out completely naked and indifferent from a pile of the earth and twisted on a rope, entering the balcony, where one of the demiurges has already prepared the first trials, “washing” with various loose substances and a black suit. The breath of a cloud of fire revives him like a soul that was inhaled. But he is still clumsy and timid. The woman is stored before the "birth" under a huge cap, like a canary that they do not want to wake up.

To the music of Nikolai Sudnik Demiurges, they lead their wards from testing for the test. The fire will blaze, the water pour and all the smoke, “Adam” as a punishment for the fault will be a bit and is almost drowned, and a huge slippery salmon will be sawn on his bare stomach. Especially for the heroes, as if explaining the roles, the dolls will play the history of the rapprochement of a man and a woman. And then, sitting on both sides of the table, standing right in the middle of the pool, the new Adam and Eve will silently play such a piercing love scene that I have not seen for a long time. And just something - they will pour milk and wine on the table, scatter salt and pepper in front of them and draw incomprehensible signs on them. In the finale, after the "manufacture of people", puddles of water, heaps of ash, cereals, sand and torn fish will remain on the stage.

Maxim and Pavel said: "How I want to make a performance where there will be no so much destruction, and everything that is needed will fit in one suitcase." Not surprisingly, with these destruction there are always only problems. Just a month ago, on the way from one American festival because of Ahe for four hours, the FBI blocked the New York airport-the dogs sniffed the smell of gunpowder in the baggage, and sticks, knives and axes were visible to the clearance. And now a completely safe performance is composed - it will be called "Mr. Carmen", and its premiere will be held in St. Petersburg in ten days. In the meantime, Ahe is playing in Moscow, in St. Petersburg Art-Waste on Pushkinskaya, 10, where Maxim Isaev and Pavel Semchenko live, their exhibition began. One of the installations is called "I will soon" - there, among the photographs, a huge collection of notes is exhibited, which the artists and their friends, leaving, left the workshop in the doorway. Apparently, this time we mean returning home from Moscow.