The art of being free

The main national theater festival "Golden Mask" is ending in Moscow

The “golden mask” came together performances of different schools, traditions and eras. The picture is the performance of Rimas Tuminas “Pier” at the Academic Theater. Evg. Vakhtangov	The Petersburg "Shelter of the Comedian" shows the performance "Lear"

Masck is almost twenty years old. It began in 1995, at a fracture of the eras, when the artists rushed about in search of a new language and new forms of communication with a public, who was confused by the overwhelming freedom. There were few cinema, there were even fewer theatrical events, the artists and directors wandered around the country with gloomy crowds in search of work.

Battles on the way

When you leaf through the calendar of the past years, you will inevitably encounter a paradox: the darker and depressing the social and political climate became, the brighter and more multidimense the country's theatrical life has pulsed. Civil freedoms gave way to creative freedom, which, in turn, is increasingly acquiring precisely civil forms. So the “most important of the arts” today is the art of being free.

Another paradox is that the Russian theater is still one of the most conservative institutions in our country, traditionally frightening non-traditional art forms and any manifestation of non-normativeness-from mat to sex. The battles of “traditionalists” with the “avant-garde” have recently taken some threatening forms, from hot discussions, the parties have already moved to mutual insults, and in some places it reaches assault. The “mask”, although a mask, is also a person, because she failed to dodge these “creative” showdowns, but had to make a choice. On the one hand, the Russian psychological theater is great in its royal immobility (yes, yes, all with a capital letter), on the other hand, a ruthless and dangerous direct theater, actual, acutely reacting to the challenges of time, far from beautifulness and illusions. A transparent crystal lake with a gentle soft shore - against the mountain river rushing along the sharp stones of the mountain river. The Mask thought and ... rushed into the river.

The 2013 festival has not yet been completed, the prizes have not yet been distributed (the award ceremony has been scheduled for April 16), but the main events have already taken place-the current “mask” again relied on a risky theater.

Emerged boys

The performance "Gorki-10" Dmitry Krymov-Mix of Politics and Fars

According to the number of references in the consolidated poster of the festival, two names are leading, which today symbolize the completely intelligible ways of developing the domestic theater: cursed by entertainers of morality and morality, Konstantin Bogomolov and Petersburg Theater Troubles Dmitry Volkostolov (founder and head of the Poste Theater), he is cursed by the champions of the theater of the traditional, in which everything should be fine. "

Now that these two surnames are set nearby, suddenly their incredible similarity in aesthetic views is found, despite the difference in embodiment and aged. Both are absolutely merciless to the viewer, and it seems that they work at all without taking into account the audience interest, both are representatives of the so -called “writer” directing, when the dramatic basis of the performance is just a tool, a set of colors. Both do not recognize any taboos and prohibitions, arguing that such categories as morality is not a place in creativity, the main meaning of which is absolute total freedom. It seems that there are no authorities in art for them, their artistic statements are always personal discoveries, exploding the traditional framework of cultural and social decency. Both are intellectuals, well -read, educated, intelligent. And finally, both of the other - with a clearly expressed civil self -awareness, not allowing them to go into pure art, devoid of pain and mocking today.

Both the Bogomolov and Volkostrelov put a lot, quickly and loudly: each of their premieres is accompanied by another scandal that flashes either in the ranks of the public, then in a professional community, then in the adjacent workshop of critics and theater studies. In life, both make the impression of quiet educated boys from a “good family”: an innocent angelic species of wolf -wolfers and a quiet, smiling, well -groomed, devoid of bad habits Konstantin Yuryevich Bogomolov. Hell, which is seething in their souls, breaks into the stage sites with a sort of mudflow, sweeping away everything in its path.

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“Traditionalists” and “innovators” have recently moved to mutual insults, and in some places have reached the assault

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Three performances of Bogomolov came to the “Mask” - “The year when I was not born” (Tabakov Theater, based on the play of Victor Rozov “Ground Nest”), in the final of which the heroines perform a thieves song on the motive of the state anthem, and in the background are loomed with the legs of a hanging young woman, the daughter of a large Soviet statesman; "Lear" (the "Shelter of comedian", St. Petersburg), the action of which takes place in the Kremlin in the 40s of the last century; “Stavanger” (Liepaisky Drama Theater, Latvia), in which the heroes sleep, eat, get sick, die, go to the toilet, and they get in a huge glass aquarium. Dmitry Volkostrelov showed at the festival the best works of his “antitheater”, all of them are made in collaboration with the cult playwright of modernity Pavel Pryazhko. “Soldier” (a joint project of the POST Theater and the Moscow DOC Theater) - a performance consisting of two phrases and lasting 10 minutes); “Evil Girl”, which is compared with the Devyarov films “New Wave” and “I am free”, the quintessence of the Volkostrelian manifesto, a performance consisting of a slide show, silence and one sentence.

The theater, which is preached by the Bogomolov and Wolferships, as well as many other nominees of the Golden Mask-Mikhail Ugarov (“Two in your house”, about the Belarusian opposition Vladimir Neklyaev), Dmitry Krymov (Gorki-10, ridicuating the political history of our Motherland and the consequences of this story), Yuri Triant, Viktor Ryzhakov, Oleg Rybkin, Oleg Rybkin. -This is a world theater, which is possible only in the author’s reading, when the essence of the performance determines not theatrical experience, but the experience is primarily intellectual, which does not depend on either age or on titles.

Traditionalists

The classic "talents and fans" of Alexander Ostrovsky still make the cashier

Among the nominees “masks”, of course, there are many representatives of the so -called traditional theater - with roles, plots, decorations and other spectacular beauty. Rightlyloted by both criticism and the public “Talents and fans” of Karbauskis (Mayakovsky Theater) and “Personal” Tuminas (Vakhtangov Theater) - with magnificent acting works, sensual, exciting, aesthetically perfect - Svetlana Nemolyaeva and Mikhail Filippova, Yulia Borisova and Galina Konovalova. The more bold performances of Eugene Marcelli (“Untitled”, the Volkov, Yaroslavl Theater) and the Kama Ginkas (“Ged Gabbler”, the Alexandrinsky Theater, St. Petersburg). The theater adapted to massive perception is simply good taste-“Lenka Panteleev” (TSAZ named after Bryantseva, St. Petersburg) and “Freken Julie” (Theater of Nations, with Evgeny Mironov and Chulpan Khamatova in the main roles).

But still, the headliner of this festival, its main driving force was the same direct theater, preaching freedom and fearlessness.

Photos: ITAR-TASS, Mikhail Gutherman