The light of our time

In the repertoire of the Gogol Center, an “ordinary story” appeared based on the novel by Ivan Goncharov. Having passed the action in our time, Cyril Serebrennikov set a story about a change of eras

Alexey Agranovich in the role of Aduev Sr. is one of the main acting discoveries of the season
Three “O”, as you know, indicate the three books of Ivan Goncharov - “Ordinary History”, “Oblomov”, “Cliff”. Each of these three great novels speaks of the collapse of romantic ideals and deafening disappointments: the ADUEEV Jr., and Oblomov, and Paradise were crushed by their tempters-a cynical uncle, a practical Stolitz and Nihilist Volokhov.

Kirill Serebrennikov built his three “o” - the performances “Sino” (2011) according to Zakhar Prilepin, “Proonol” (2011) according to Nathan Dubovitsky and “Ordinary History”. In each of them, a change of time is rigidly and accurately recorded. Heroes drag time on their shoulders, like Sisyphus - their stone to the top of a nonexistent mountain. An unbearable stone is rolling back, and it must be lifted and dragged again. A huge letter oh, blinding by neon light, is the sentence from which you can’t get out.

The noise of time , the light, the graphics of “ordinary history” (artist Kirill Serebrennikov) continue the style of “scumbags” and “cloth”: the main color is black, the main light is neon, the episodes replace each other rapidly, as if a broken elevator brings us into a bottomless mine, and it seems that the clang is grinding, although it is actually music. The music that everyone does and creates.

At first, the music makes a provincial rebel Sasha Aduev (Philip Avdeev): a guitar, an amplifier, a microphone on the leg, trin-bren, the walls tremble, a friend Vitya torments the bass. Sasha yells into the microphone: “I declare Wendetta soulless, dumb, headless! To everyone who beats for a place on the hole, for life in shackles! ”

Music is made by Sashin Mom (Svetlana Bragarnik), turning his son’s wires into Moscow into a ritual cry. Without interrupting the lamentation, mom collects Sasha a hiking bag - throws lumps of socks, colorful shirts and a deer sweater into it.

The city of Moscow gives rise to its light music - the music of the metro, the windows, nightclubs, the prenatal garbage machines, park benches, dirty landfills, and bohemian parties.

The music is also made by Peter Ivanovich Adoev (Alexei Agranovich) - at first the guitar under his hands buzzes the entry of the “city of the Golden”, and then hesitates with a heart -rending cry, when her uncle rummies on the floor and his stunted deck pierces her with his foot. Also music.

Music is also made by the younger official Tafaeva (Olga Naumenko), who sobbing the vulgar poems in the style of the eternal captive Evgenia Vasilyeva.

All these sounds are connected in one stream, which falls into the amazing score of Alexander Manotskov - his vocal cycle performs a female trio consisting of the main characters, and this passionate polyphony gives the performance almost antique features.

Love connection with the elderly Julia Tafaeva (Olga Naumenko) will help the hero make a career

The director and screams, the director, seems to have an absolute hearing - all the acting parties are so accurately laid out, where, it seems, there is not a single accidental purpose. How Aleksey Agravovich, well-known in the creative environment, the director of fashion events, producer, manager, art director and just a good guy, can only guess the role of Aduev-Sr.-you can only guess. Before the Gogol-Center appeared on the stage of the “acting”, Agrainich lay “pennies”-several episodes in films with friends and in the performances of the Quartet and ”. The role of Aduev is the first role of such a scale.

Svetlana Bragarnik in the role of Marya Mikhailovna Lyubetskaya Agranovich turned out to be not just an organic actor - he defeated everyone who doubted his success. A gloomy, tired, laconic man in an expensive suit and with a unblinking dark look of a burned cynic, he, like Virgil, leads his young friend in circles of modern hell. It passes to the end, step by step by throwing off the husk of cynicism and losing his beloved woman on this path. And only reaching the end, falling into the very baked neon light, the Aduev will finally understand that the real reckoning is his nephew, whom he turned into a monster. And now the monster took his place. Place under the artificial sun.

The duet of Agrandovich and Philip Avdeev was built by the director masterly: like two strongest magnets, they either repel from each other, then adhere to a frantic arms that cannot be broken.

Yana Irteniev in the role of Nadi Lyubetskiy Philip Avdeev, before his eyes, grows up in a large artist, endowed not only with natural charm, but also a rare ability to think for the stage, to exist on the most closely as possible. It is no secret that the most difficult, inaccessible zone for the actor is the range between a whisper and a cry, between a smile and laughter, between a tear and sob. It is there, in this space of nuances and halftones, that the same acting “Higher Mathematics” lies, which turns the performer of the role into its author. The duet of Agrandovich and Avdeev - from such rare acting conquests.

The ideals of Beaver as the history of the 19th century become the history of the age of XXI? And before us is the XXI century. The same toothy, rumbled Moscow. Her secular glossy crown with bored whores from the upper world and the oligarchs of the middle hand, glittering winter tan. Uncle from the 19th century traded ties, uncle from the 21st century sells "artificial light."

- What are you doing? - asks him Sasha.

- Light. I sell artificial light.

- Is it good?

- Not bad.

Black leather furniture, a laptop on the table, rotating chairs, a traditional whisk.

“You will have to be tight here, nephew.”

- Why?

- There is a lot of splendor in the eyes.

The enthusiastic Sasha Aduev (Philip Avdeev) came to conquer Moscow by the transformation of Sashin's “brilliance” in the eyes into artificial light occurs rapidly and ruthlessly. Mocking naive book slogans, turning them into “The ideals of the bea”, Peter Aduev clearly demonstrates them to his student, where meaningless dreams of a landfill, the side of the road, to the ditch, and the garbage lead. And once in the marginals, in intellectual lousers - you will not get rid of this stigma, like rot from the smell. The student, who tried to resist the teacher, surrenders after the first hit received - the betrayal of the red -haired beauty Nadi (Yana Irtenieva).

The next "beauty" of advanced years will already be needed for business. The lustful Tafaeva digs into the naked Sashino body, like a hungry wolf. The muscular dog thrown by the hostess (Ivan Fominov) jealously howls on the next carpet, sobbing through a leather muzzle. The scenes of Tafaeva are reminiscent of sloppy TVs from the life of Pugacheva and Galkin.

Having taught the nephew, the lesson of the game on the guitar, Pyotr Ivanovich (Alexei Agranovich) will break her on the floor so Sasha slowly turns into an animal, and then into the beast. And the animal grin sparkles with snow -white porcelain, and cold matte eyes look senselessly at his uncle, who had just buried his wife: “I am appointed Minister to the Ministry of Light. Come to me deputy? We will tear everyone with God's help. We will pour the whole country with our light! ”

In a quiet tombstone, voiced patriotic notes are clearly heard. The trawl wreath "Tricolor" is a pass into a new life.

Photo: Gogol Center, Ira Polyarnay