Translated material
The end of Mr. Botox
The play of the Italian classic and the Nobel laureate Dario CHAMS is called the “two -headed anomalia” and was set by the author on the Italian stage almost ten years ago - at a time when the Great Silvio was not going to leave anywhere. According to the plot of the play, a bosom friend Putin, still president, is visiting Silvio in Sardinia, where they are overtaken by Chechen terrorists and kill the Russian president, deadly wounding the Italian prime minister. The brigade of neurosurgeons transplants the surviving part of the brain of the murdered Putin to Berlusconi's head - the Italian leader loses his memory and begins to recognize himself again. The theater brigade.doc, led by director Varvara Faer, transplanted the Italian plot on Russian soil. In this version, Berlusconi dies at the hands of terrorists in the country's suburban residence, and the wounded Putin receives half the brain of his Italian friend for eternal use. The new Putin re -masters the Russian reality and, realizing all the horror of the deed, makes a repentant speech in parliament, after which he is finally recognized as crazy and sent to the operating table to make another lobotomy.
The image of the image
What are the laws to judge the political theater? What is more in it - artistic sophistication or journalistic fuse? Does such an open platform form of dialogue with the public have the right to be called art or is it just part of the rally subculture? When it comes to a political plot, does artistic fiction turn into slander? And is a satire legitimate, based on the evidence of anonymous sources from the Internet? Does the political caricature imply reliability? If so, where is the evidence? I remember that the prime minister spokesman Mr. Peskov showed concern in connection with the appearance of the satirical play “Prebiotics”, in which one of the characters was his cartridge. Any artistic image of the national leader is considered as an image of God: are simple mortals have the right to use his sacred face in vain? Is there any blasphemy? And even encroachments on state foundations? Whose mill is pouring the water "Berlusputin"?
Looking at this outlandish spectacle is as risky as it is to play. Actors Evdokia Germanov and Sergey Epishev are the same Soviet people as the audience in the hall: they are also scared, they seem to ask us - can they? And having closed their eyes at this abyss of mockery, delivering themselves and us from the usual genetic fears, repeating after the chorus of the paratroopers the mantra of this winter: “You are the same as us, a person, not God, I am the same as you - a person, not a sucker.”
Badger joke
If there is an end to Putin, then he is here on stage. This power has long been afraid of either light or truth, it is really afraid of only ridicule and does not forgive this: laughter deprives subjects of fear. On the stage, an inappropriate dictator, who built himself with the help of Kholuev, a crystal soundproof lock, as if awaken from a lethargic sleep - and the world built by his hands appears in front of him in his present form, not debugged with servile television. The aging narcissistic playboy, obsessed with his own greatness and eternal youth, is used to looking only in those mirrors that obedient subjects slip him. The heroic appearance, like the heroic biography, has long been captured by court journalists, artists and political scientists. And the one who doubts the credibility of this image will be removed from the eyes of Down with, whoever he is - a powerful oligarch or legal wife, who, exhausted by domestic violence, lies and hypocrisy of the great husband, only the days in one of the monasteries, like Princess Sophia. There, under the wing of the woman who once loved him, the "two -mastered" prime minister is sent to preoccupied doctors. The wife is trying to cure amnesia with the help of his own memories (“We met you at the concert of Arkady Raikin”, “You checked me for lice, hid my place of work”, “You were always a ghoul, home tyrant”) and stories from the Internet. "Our madhouse votes for Putin!" - The disgraced video from the hospital sheet is flowing, from the personnel of the chronicle of the prime minister, he learns that over the years of his reign he built an abnormal gangster state, destroyed the sprouts of freedom and democracy, dealt with the opposition and witnesses of his own crimes, and secured the place of the “leader of the world power”, and distributed pieces of the birthplace to his accomplices ... bitch? Am I so bastard? " - in horror exclaims the transparent prime minister.
Comic throwing between repentance and the monarchy anger tear the body and brain of the hero into parts, a nasty joke becomes both torture and reality. "Bring me a mirror!" - He squeals almost in a hysterical seizure, a monster with saggy ears, hooked nose and bulging eyes ...
Since the time of the "Tshass crumbs" in the program "Dolls" and the freak Dobby from the "M endeons" no one joked about Putin. We know the television public Viktor Shenderovich and Leonid Parfenov.
Statists and artists
Could such a performance appear a year ago? It is unlikely. It seems that something really has changed a lot in the atmosphere in December 2011. Laughter defeats fear again. And this new round of social protest is gaining momentum.
Dusya Germanova, previously not seen in the manifestations of civic activity, over many years of work in the Soviet avant -garde - the Oleg Tabakov Theater - who has mastered all the nuances of the Azopov language, first acts in the role of the rebel so uniformly inherent. Theater style.doc exposes the artist completely, does not allow him to hide for his role - only the Orleans maiden itself has the right to play Jeanne d'Arc. In Germanova’s eyes - horror, she independently passes this path of discoveries: from an unprincipled performer of other people's texts to insight. "Blessed is the people who need not heroes, but lysoba!" - She articulates these beautiful words with the responsibility of the banner who carried the banner from the battlefield.
Sergei Epishev plays Berlusputin in Brechtovo-with the same degree of detachment and courage, with which he regularly performs in the tough political cabbage of the theater award “The nail of the season”.
The genre of political cabaret can be mastered only in this way - in absolute fearlessness. To seduce permits to the satire (the heroine of the play, a similar question asks his partner at the very beginning) - means to admit herself in advance to the loser.