The madness of the brave

Tomorrow, on June 29, in the capital's “Theater.doc” Colta.ru will present its special project “ Dangerous Plays ” - sketches of performances based on the plays of Olzhas Zhanidarov and Maxim Kurochkin, which were part of the program of the Moscow International Open Book Festival (MMOMF) and canceled at the request of the Ministry of Culture. Dmitry Renansky reflects on the context of what is happening.

The conflict with “dangerous plays” in the first approximation may seem to be the most perfect marginalia of the Russian theater process, whose main characters are preparing to take the results of the next season in order to fall into summer hibernation from day to day. And in fact: well, yes, the shooting list of the newspaper “Culture”, well, yes, the next Faux PAS of a furious printer - but how far all this is, at first glance, from that complex Grand Spectacle , which has unfolded in the last ten months on the scumbags of large and small domestic theaters. Meanwhile, during a more close consideration, the plot with “dangerous plays” is difficult not to admit what is called, meaningful, fixing, on the one hand, a very difficult, but at the same time extremely intriguing situation, in which the modern Russian scene, unexpectedly, founded herself by mid-2014.

In order to evaluate the entire piquancy of this situation, one cannot do without a brief excursion into the latest history of the Russian theater, which has experienced the process of changing elites in recent years. At first, the impressive group of directors, who until recently, who were giving hopes - Yuri Butusov, Andrei Mogeliy, Kirill Serebrennikov, received, along with the belated recognition of the cultural establishment, official certificates of maturity in the form of contracts with large theatrical hospitals of varying degrees of neglect and problematicity. In parallel, the representative director’s generation was published on the advance, which took the vacant place of “angry young people”: Alexander, Volkostrelov, Gorvitz, Didenko, Kvyatkovsky - a list of names of directors who released the work of work for the new Russian scene last season, fortunately, you can continue and continue.

It would be good for the domestic cultural authorities to understand as soon as possible: there are simply no other playwrights and directors for the modern Russian theater for them.

By combining the efforts, the institutionalized Angry Young Men of different generations launched the process of updating the theater’s institute - the results of which are visible today, which is called the naked eye. The acute conflict between the old and the new, between the canon and the heuristics, between the official scene and the theatrical counterculture, which until recently determined the agenda of the Russian drama, gradually began to go to - the social picture of the modern Russian theater, which was rapidly rejuvenated and survived by the wave of rotation of the artists, has changed: for a long time split into polar Camps, today it is consolidated naturally - by changing generations.

And now, for years, the authorities have been trying to destroy this for years - the introduction of censorship, the implementation of the thesis “Russia is not Europe” and the desire to comb everything and everything under the comb of “traditional moral values”. It is easy to assume that if politicians from culture and achieve some effect, then almost diametrically opposite.

Commenting on the situation with the abolition of the “Dangerous Play” project on Moktkf, Marat Gelman suggested that the times when the cultural life of Russia is finally divided into conformist conjuncture and the underground in opposition to it - deprived of financing and attention of the general public. In order to achieve such a situation in the theater sector of the cultural market, the authorities will need to get very strong: “dangerous art”, if we use the terminology of the newspaper “Culture”, today the absolute majority of practitioners actively working on the Russian theater stage are engaged in.

It will be interesting to look at how responsible for the release for the release of a new, expanded and supplemented, publication of the list of “dangerous” plays and performances will be faced with the need to include the lion's share of the theater mainstream. It will be even more curious to look at the appropriate reaction of the community: one can once again prohibit the show of conditional “dangerous plays” at the conditional Moktkf - but, do not go to the fortuneteller, the conditional “theater.doc” will intervene again and again, which will offer “dangerous plays” its own platform.

It is necessary to evaluate the whole tragedy of the situation in which sooner or later the utopian utopian crusads will be faced against “chernukha, mother, pornography” - at a certain moment they will certainly have to face an unexpected and unpleasant discovery: “mediocre shamanism under the sign of innovations” do not produce marginals at all, but occupying leading posts in large institutions, which are demanded by the public and in demand, and in foreign Using the recognition of the intrai -line community Profi - generated by the painful imagination of those in power of the monster, in fact, is quite a full, mischievous, huge, stose and barking. And quite, it seems, is ready to stand up for itself. It would be good for the domestic cultural authorities to understand as soon as possible: there are simply no other playwrights and directors for the modern Russian theater for them.