Relatives: a feature of settledness

"Berdichev" Friedrich Gorenstein in the Mayakovsky Theater

Photo - Mikhail Gutherman

Finally: a new, really new play for the public. Domestic, moreover. With persons, fate and characters in the best traditions of the “theater for people”, with an excellent game of the actors of the Mayakovsky Theater. With psychological and historical quality and subtle elaboration of the performance. With the warmth and laughter, which were brought, rather, by 26-year-old director Nikita Kobelev and his team. And with diamond ruthlessness of the gaze, the icy sobriety of the author of the play, flickering deeply. Such a metaphysical backdrop.

Gorenstein-prose (and his main texts, nevertheless, novels “Psalm” and “Place”) were called the genius of Andrei Tarkovsky, Yuri Trifonov, Fazil Iskander. The special quality of his prose: a close micron optics of the view on the exhausted, poor, ugly Soviet world, the world of the Fatherland in the twentieth century. On his material flesh itself: boots and sandwich, wagon shelf and asphalt of the platform, adels of family cuisine and smells of bodies in the hostel. Each molecule is flawed here ... But we are from here. And by the way, the “fifth point” is not fundamental here. The question is wider. Friedrich Gorenstein was a screenwriter of such films as Solaris and Slave of Love. It was set by Peter Fomenko in 1991 at the Vakhtangov Theater in 1991 in 1991 in 1991. His "Berdichev" (1975) entered the stage for the first time.

“Drama in 6 episodes, 30 years and 68 scandals” moves from the post-war years by the mid-1970s. But everything takes place in a tight apartment of two sisters: a meek of the righteous, the tailor of the vicinity of the Kaptsan (Tatyana Augshkap) and her sisters Racheli (Tatyana Orlova) - a cruel and frantic military widow with two children, a member of the CPSU since 1928, a trusted cook of the NKVD, a crazy scandalist, a crazy mother for the daughters of Ruzi (Zoya Zoya (Zoya Zoya Kaidanovskaya) and Lucy (Nina Schegoleva) and snakes of the submarine for the son -in -law Mile (Vitaly Grebennikov). The dry fingers of Rachels are always bruised in indescribable - half -stained, half -bank, thieves' gesture: “So! I'll enter! Your face! " Sister of Zlota cries with shame. Rachel hisses at her: "Forever you pitch your eyes!" Skontinok-s ...

Without removing a drapo coat and a winter hat (for what kind of house is it?), The gilanter of Gorenstein eating hastily in the kitchen. 24-year-old actor Alexander Pal (already marked by the theaters of Moscow in the performances of Mtuuz “Lieutenant from the island of INishmore” and “four-legged raven”) plays well. But the performance “Berdichev” is primarily the benefit of two Tatyan, Orlova and Augshkap.

Oh, which is just not mixed in the eternally borderline states of Racheli! From the nod towards the buffet in the Art Nouveau style, which at first seems to be the altar of domestic deities, the fragment of the pre -revolutionary “way, comfort, in end”: “And this furniture was given to me by the NKVD” - to slavish love for the granddaughter of Allochka and palm, which obviously does not need a shameful old woman. What does not happen in this poor apartment, where three generations are squeezed! Mile's son -in -law is inexorably turning off the “Record” TV when decrepit spite of viciously sneaks “from its half”. Ruzya (fearlessly overlaying the “thicknesses”, Zoya Kaydanovskaya perfectly plays a darkened provincial aunt of the 1960s) beats in hysteria on the floor, taking away the passport from his son, who decided to marry. How accurately and mercilessly hears and writes Gorenstein the broken jargon of Berdichev 1940-1950s ...

"You have no goodness!" - shouted to his "random family" a teenager in Dostoevsky’s novel. In the house of the sisters Kaptsan, where the right tears of shame of the righteous of vicosa flow in borsch for thirty years - there will be no out of sight and will never be. This house itself is a model of the world, where two hundred millions of souls experienced the massive psychosis of revolution, Petliurine, queues, denunciations, delaying millet and lack of soap, war, shock, like magnetics, marginalization of the “new townspeople” of the USSR, sprouted from the village, from the estate, from the place of communal services ... a “new historical community” in the country began.

And in this regard, the performance of Nikita Kobelev “Berdichev” stands into a fragmented, but already long series of the most important artifacts. “Moscow choir” MDT based on the play by Petrushevskaya, half -forgotten - and, perhaps, the best with Nikita Mikhalkov! - The film “Relatives”, Shukshin’s stories and “Shukshin’s stories” of Hermanis, “The sad detective” Astafyev and “Terrorism” of the Presnyakov brothers and Kirill Serebrennikov ... All are attempts to go to a whole geological layer deeper than grief, emotion, and civil indignation. Attempts to say where we are, from what came out of. With a clear (in the final of the play “Berdichev” even excessively sentimental) awareness - there is no other relatives. These “random families” of the XX century are blood, flesh and starting line of the XXI century.

Accepting this truth, a fierce teenager-hanger and becomes an adult. Here - humility and insight. Here is life, not death. The beginning of the historical path is from a shabby requisitioned buffet, in which soldering, passports, lara and penalties are hidden.