The name of the rose

In fact, from the premiere of the "drunk" and the new History of the BDT began. Everything that was before was only a prelude - or, following the style of the performance, “aperitiv” to the main plot “ Mighty in the BDT”. The touching “Alice” with her ritual “run in a circle” around the great Alice Freindlich and the stuttering meanings “what to do” -there were too many compromises in all this (understandable, excusable, in their own way of substantial), but there were very little true freedom. And in the “drunk” the “Theater of famous masters” and enjoying, on a grand scale, recklessly, not clutching at the air with pens - fell by physiognomy directly into the dumb clown of the clown mat. And he spread out for a moment, exhaling happily. Everyone, saved.

Almost in every minute of the performance there was a kmelly acting enthusiasm: "Is it really possible from the stage, right here, here, the altar of our theater-guard?" And how it was not to evaluate an instant and quite reasonable answer: “Yes, you can, and how, and very simple!” Maybe it was no accident that the “bewitting” text turned out to be just one that “imperfect” can be called only from pure politeness. All these monotonously repeated verbal periods about the “whisper of the Lord in his heart”, about “Death is not, the beautiful Gulbahar!”, The empty rut “When the child looks at the ice cream is also a type of love” and “If you love, you live, if you don’t love, you sleep or live in shit” - that's all - it cannot be said that it is very refreshing. That is, to repeat about this love again and again and hope that it is mutually, there are no serious reasons. However. The penetrating hooliganism and the persistent imitation of sincerity, as well as the pompous God -seeking and all -consuming tongue -ties, in this case belonged to the merits of the play by Ivan Vyrypaev . The subtext - what the director and actors agreed on rehearsals - turned out to be smarter, thinner, and funnier than the text. They would try to do it with Chekhov, beautiful Gulbahar!

Some professional condescension, patronizing unceremoniousness, and at times the ironic ruthlessness in relation to the play became an additional condition for self -value freedom. The serene and more calm the actors “nonsense carried the beautiful”, the richer and deeper the theatrical meaning of what was happening turned out to be richer and deeper. The sermon, as usual, plowed before the game. That's why he is the theater.

A steep inclined platform, drawn with soft squares of mats, metal beams, an electronic scoreboard with a running line - the minimalist and highly functional decoration of Alexander Shishkin provided as a rare principle of action: “play on the structure”. Dramatic acrobats, “white clowns” in evening suits (and sometimes in colored wigs) with irresistible visibility reminded that the position of the human body in the stage space always reports something. And then, when it, the body, with all its sluggish device “mutters” some inarticulate (literally) nonsense-most often across the amazing merits of some classical play. And even more so when, having gone through a series of trainings (and this time they were seriously engaged with the BDT actors), obeying a complex and witty plastic score, tells a story that did not dream of a beautiful gulbahar.

With the vortex madness of the “incendiary” Indian disco, the performance began on the big screen - it ended with them. The convulsive twitching of terribly elegant men and the hilarious ecstasy of the dancing pile of nymphs, of course, had nothing to do with the mysterious festival “Iranian film”, but gracefully framed the story of people whose actions and movements from the side also seemed ridiculous and ridiculous. Oh, these people did not spare themselves! They now and then fell, slapped, plopped down, wriggled and bend at incredible corners, making miserable attempts to get up, gained amazing points of the support (on the nose, for example), if they did not stop, then it was falling and rolled.

In the “drunk” “Theater of famous masters” and enjoying, with a grand scale, recklessly, not clutching the air with their hands - fell by physiognomy directly into the dumb clown of the clown mat.

Yes, they were all drunk - according to the author’s plot. And this circumstance unleashed their tongues, pulled and philosophizing, plusing the lengthy and, unfortunately, the notorious monologues. The human body was poisoned by alcohol, but a person did not sound proudly (convincingly played in the current BDT troupe, by the way, not everyone can). The sky was now turning away from a person, then turned to him, in a word, spun - for quite prosaic reasons. However, the most suspended and most inspirationally braided tongue was in any comparison with the grotesque dance of exhausted bodies - he was really full of metaphysics.

Instability as such - it was she who turned out to be genuine (in any case - convincingly present) the meaning of the game started here. Instability both bodily and mental. The vertical (morally moral) here was not allowed to anyone without a fight, it was straightened to straighten to all the height and for seconds - the legs were bent in too soft, the furnace of the surface. But the deceased horizontal (immoral, if you like) was also not an easy alternative - the lying body rolled down the inclined. From this geometry, if desired, you can extract as much metaphors as you need. Interestingly, no one used the most stable pose in these circumstances. No one thought of just kneeling. The characters paradoxically valued their instability. The support - in the rants of the Divine - invariably turned out to be both flimsy and temporary (the local theology did not affect the firmness of the gait). Bliss (maybe in the gospel sense) was found not in gaining, but in an aspiration. Love (spectator) was not given for words, but, as usual, for what for the words: the falling person was sympathized and emphasized just so that he could no longer weave. However, erupting applause in especially pathetic places-from the great scene of the BDT it turned out to be again possible to call someone to something. God you are mine.

As usual, the young people in a hop showed up excellently: Viktor Knyazhev (former Rakhmetov) for the second time proves his right to monologues, Varvara Pavlova has the right to be proud of his scenation (although the confident unearthly tread of the one whose beauty was given to her easier than alcohol withdrawal). Ruslan Barabanov - the most stubborn of the managers in the boyfriend - recalled that the theater and pauses can be much more eloquent, and sometimes witter words. Julia Deinega shone in the role of a prostitute named Rose - she was the most sober and hilariously serious among all these drunkards, and her insatiable thirst for spiritual revelations was completely devoid of physiological motivations. There was no one who would be the first to throw a stone in this menacingly frowning little pink sparrow, defending self -esteem, fighting off the impressive sizes of an impressive size with a flower. It is clear that Christ in the end should have appeared (or to get) to her, the prostitute, and therefore, the young actress, who got out of the situation, got an unbearable finale.

The colorful judgment of the author’s text was differently overcome by experienced actors: Dmitry Vorobyov (Gustav) launched his branded irresistible reliability, Valery Degtyar (Mark)-equally recognizable tenderness for all the living and touching detachment of Prince Myshkin, Vasily Reutov (Lawrence)-a defiantly indestructible Intelligence. His prolonged monologue, which ends not quite a canonical commandment of “not to piss!”, Was worthy supported by the heroine of Elena Popova. "Do not piss!" -Having lowered the eyelashes, the princess’s restrained-aristocratic tone in exile said Elena Kimovna, staring everyone completely.

Anatoly Petrov, literally in front of his eyes, blossomed with the advent of the mighty (the virtuoso monologue of his rabbit in Alice is unforgettable), played, it seems, even at all his best role in the years spent in the BDT. In his Charles, many shades of infantilism were magical magically connected, from the sophisticated to wretched, the childhood resentment was mixed with an adult pity for himself, but catastrophic defenselessness ate everything. The radiant truth, given to him generously drunkenly, about the fact that they were all “the body of the Lord”, caused a marvelous metamorphosis almost at the physical level, Karl began to shine quietly from the inside, quick comic apartments (the actor found a place for them!) Motted with restrained sobs, and an attack of dealership and stupid goggles covered Heroi by surprise.

The scene of the anniversary of the death of the mother (the one killed by the cat) is a masterpiece of the performance. The quartet, played by Elena Popova, Dmitry Vorobyov, Anatoly Petrov and Marina Ignatova, gives a master class of ironic detachment and tireless acting courage. Marina Ignatova, the lion's share of time does not pronounce a word and only gurgled something like “I, too!”, As they say, “stole a show”. Since what was there with that mother and that cat, no one heard: the hall moaned with laughter, observing the attempts of a well -mannered man who was fed up with high dignity to get to his feet. The lady in a desperate, but stubborn impulse strove to straighten her left, then the right leg, not one for some reason obeyed, the lady was terribly surprised, turned around, not without condemning, looking around her heels, and meanwhile, meanwhile, pulled upward, where the saving crossbar loomed, which could have been done much ... At least not to crash to the floor ... But the knees were bending, the coveted support slipped away, and the lady everything stretched up - in a humble and complete hopes, the impulse, and is really indistinguishable from religious. And the whole process was repeated first. And so a few minutes in a row. In this irresistibly funny and paradoxically, nimble acting - the quintessence of all these “drunk”.

By the way, if the “Tovstonogovo heritage” is still vividly, then it can be found somewhere here-in any case, that part of it that we are familiar with the famous trick of Evgeny Lebedev with a glass of vodka in “energetic people”. But this is so - as a child.