Translated material
Angels and airplanes
A new theater is born in Moscow, where they know what freedom and resistance are “Dmitry Brusnikin's Workshop”
Brusnikins are photographed for the poster of the play “Switch” in the workshop of Alexander Petlyura, March 2014 /Photo: Julia Ardabyevskaya, Ksyusha Pustovalova
Dmitry Brusnikin began teaching, barely graduating from the Moscow Art Theater School. Over the past 30 years of pedagogical experience, he learned an army of students, among which there are many real stars; Together with his comrade director Roman Kozak, he released three acting courses and then finally came very close to his own theater. His current “workshop” is the third course of the Moscow Art Theater of the Faculty of Mkhatov, they are moving excitement and curiosity. First take a height, and then understand how it succeeded.
Verbatim
In the first year was the protest December 2011. And the Brusnikins went to collect the play in the thick of the events: to Bolotnaya and on Sakharov. Monologists and personal stories of various people - from veterans to teenagers, from homeless to officers, from migrant workers to programmers - became the basis of their first performance “This is also me”. The fashionable word “verbatim” did not frighten the Moscow Art Theater, and they took the exam with curiosity, for the first time in the history of the establishment based on documentary texts - neither Chekhov nor Ostrovsky.
The play “This is also me” immediately jumped out of the exam: Moscow ran to it, and took the Practice Theater, and put it in the posters, in the repertoire. So Brusnikin’s course became the “workshop”.
Education of personality is impossible in airless space. In the 80s of the last centuries, teachers sent students-actors to the zoo-to observe animals who, unlike people, did not hide their view of the world: honest and open monkeys with unlucky batch brains were an example of individual freedom. The verbatim of the Soviet period is mournful grunts, sinister hoots and a formidable growl, though about the bestial life in the USSR.
The play “This also Me” showed not only the level of ownership of the profession (the audience passes a gallery of a wide variety of and convincing types), but revealed each individual - with his personal vision of the world and himself in it. The current teachers and former Soviet students Brusnikin and Mokeev could only dream of such self -realization.
Directors Dmitry Brusnikin (left) and Mikhail Mokeev at the play "Demons" in St. Petersburg. February 2014 /Photo: Alena Kozhevnikova, Ksyusha Pustovalova
Vanguard
The performance “Second Vision” is also the result of the educational process: “Acting skill training programs necessarily includes“ Studies according to paintings ”. Something similar to a “visible song” in pioneering childhood: when “pioneers”, drew up under the Chapaevtsev, jumped under the “tachanka” on wooden sticks. The directors of Brusnikin, Didenko, Kvyatkovsky and the artist Galya Solodovnikov offered their “pioneers” the complex acid foaming world of Russian avant -garde, his two most striking representatives - Natalia Goncharov and Mikhail Larionov. The performance was again from the exam: the plots of artistic paintings strung on the guide of the guide immerse confused spectators into a real ocean of emotions, into the element, into a storm, not allowing to come to their senses.
The “second vision” is played in a strange place recently developed by the Union of Theater Workers, in the Boyar Chambers. The remnants of the ancient chambers of the 18th century in the very center of Moscow became the favorite platform of theatrical experimenters and avant -garde. The low brick arches, confusing and endless Anfilad cold dark halls are simply created for the theater - and many performances of the “Workshop” have already been the roots there.
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"Demons" begins with the victorious revolutionary hip-hop "I will bring a troubles of troubles!", And end in a bloody daub
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Spectators go from hall to hall, forgetting that they are spectators: here you are not watching the theater - he is around you, he is inside you, he can overtake you at the most unpredictable moment. You emerge from the darkness and get into a huge wooden airplane, which is launched before your eyes by young pilots with wings of angels behind your back. You climb a narrow staircase - and a whole brave detachment is dancing from the opening of the wall: dashingly twisted mustache, ruddy cheeks, red overcoats. And there, around the corner, a black man and a prostitute are suffocating in a crazy Charleston, and white dust of cocaine is spinning from a black pocket. And here you get to the birth point of the world and with it experiencing the torment of birth, and the happiness of life, and its horror, and the darkness of leaving. And there, barefoot women, entering a lingering moaning song are pounded with wet tight sheets on wooden boards. How many roles for each in these visions? Ten? Stunned spectators emit the performance from the “gallery”, as after a space attraction, to sell photos of spectator persons taken secretly while watching.
Troubles
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| The performance “Second Vision” is a joint work with Maxim Didenko and Galya Solodovnikova. The premiere took place on October 20–22, 2013 in the Gallery "Boyarsky Chambers" in Moscow/Photo: Alena Kozhevnikova, Ksyusha Pustovalova |
The Boyars of the Boyars also play “demons” (the staging of Dmitry Brusnikin, the directors - Mikhail Mokeev, Mikhail Rakhlin, the artist - Sergey Tryshkin) - a gloomy performance about the dark sides of the soul, frighteningly, quick, brisk, eager, deafening, into which you burst from the very beginning, from the first stage. Spectators and actors, mirrors and musical instruments mixed with each other - we are all participants in the underground meeting of the secret revolutionary circle. Silently, the curly -cooked Petrusha Verkhovensky, a vicious handsome Stavrogin with a red lipstick, who makes him like a vampire, a tragic and ridiculous Lebyadkin, a cold impassive liza, as well as liputin, shafts, Kirillov and other raznochins who dream of a new order and new justice. A whisper, hissing, shuffling, stomp, groans, quiet crazy laughter, deaf shots, slow crackling of a folded cellophane, a report of criminal news on the TV - these are the sounds of “demons”, the sounds from which the image of betrayal and terror is consumed. The brilliant scenes of the underground gatherings of Verkhovensky, from which it smells of a familiar collective cowardice, sticky uniting fear, which turns people into hyenas, and even their plastic changes, and a look, and a gait, and speech. “Demons” begins with the victorious revolutionary hip-hop “I will find a trouble-I will close it!”, And end in a bloody daub on a brick wall.
Freedom
The arrival of Brusnikintsev to the new drama was inevitable - their last premiere “switch” according to the plays of Maxim Kurochkin overwhelmed the persistent patience of the Moscow Art Theater Professors, and the performance politely asked not to play in the walls of a high educational institution. The word "e *** I" somehow did not like the professors. Happens. The "switch" sheltered the Novodramovsky Island - theater.doc. Seven short stories, including cheerful, but profanity and talk about the meaning of life in the life that does not have the search for meanings. When the ominous ghost of the “demons” already jumps with a flashlight along our fragile walls, when laughter becomes a form of protest, and silence is a betrayal when the hands are already tied behind, but the bag on the head is still sewn, when there is still the opportunity to hold the rapidly falling sky, but the “vicious” is already reflected in the pupil - the glowing of the vikings, when you can move the end of the world and the end of the world and the end of the world and the end of the world and the end of the world and the end of the world and the end of the world Watch up the curled time, deceive him, tear off his sticky tape from him.
The “switch” is filled with cheerful anger and fearless denial of the inevitable collapse. Young actors play him seriously, seamlessly combining Kurochkin's lyrical heroes and their own understanding of today and their place in it.
They know exactly what world they are pushed into, and desperately resist this inevitability. They know for sure that "to break free and be thrown into it are different things!" At twenty, such an understanding is worth a lot.
When Brusnikin was young, the whole country was one big gag. In 1982, young artists interpreted the freedom of creativity exclusively at the level of muscle emancipation: a free artist-in the sense that he was unsuccessful. It was scary to think about other freedom. Thirty years have passed since then. It seems like the sky became lower again, and the walls are closer, and something again stuck and fucked right under his ear, and the announcer on the TV menacingly frowns and looks at you with suspicion. It becomes stuffy. The most favorable atmosphere for creating a new theater!