Translated material
"Bring your virus"
The Moscow Art Theater is preparing to blow up a prevention lull: next week, the directorial laboratory “Modern Actor in the Modern Theater” starts in the chamberlain laboratory. Behind the cloth language of the project, a program is hidden, uniting almost all the key actors of the new Russian scene-from the chief newsmaker of the metropolitan scene of Konstantin Bogomolov to the leading Russian playwright Ivan Vyrypaev and from the founder of the “Theater of Pos ” Dmitry Volkustralov to the chief dramaturg of Qima Sasha Denisova . The laboratory will be held in two sessions - the first will last until the end of the season, the second is outlined in the fall: its program the art theater should declare closer to the middle of summer, while promising only a sketch of Martha Gorvitz - the best specialist in the new theater for children, the director of the outstanding Cinderella in the metropolitan “Superior” will work with Ton Ton Voigen.
Each of the laboratory sessions is divided into two equivalent programs: the first-theoretical, with lectures and master classes of the Zara Abdullaeva (May 29), Konstantin Bogomolova (June 1), Irina Kulik (June 9), Marina Davydova (June 14) and Pavel Rudnev (June 22), the second-practical, with the presentation of the sketches of future performances, which are possibly possibly, possibly, perhaps, perhaps, perhaps, perhaps, perhaps, perhaps, which, perhaps,, possibly, which, perhaps,, perhaps,, perhaps, that, perhaps,, possibly According to the results of the laboratory will be included in the Moscow Art Theater repertoire. Dmitry Volkostrelov will put the essay Michel Welbek “to remain alive” (MHT workshops, May 27 and 28), Sasha Denisova will be his own play “Job” (MHT rehearsal hall, July 1 and 2). The entrance to the events of the laboratory is free, by preliminary entry, details on the official website of the Moscow Art Theater .
Pavel Rudnev
Assistant to special projects of the artistic director of the Moscow Art Theater named after Chekhov
The Moscow Art Theater has been paying a lot of attention to the laboratory format for several years. Most of the laboratories are international, when Western directors come to Moscow and work with the dramaturgy of those countries from where they come from: according to this principle, we have already cooperated with the French, Germans, Finns and the Spaniards, and the Polish project is next in line. The current laboratory is the third in a row, in which we present young domestic directors: the first, in 2012, was dedicated to the modern Russian play - by the way, among others, the same Dmitry Volkostrelov with a sketch in the text of Pavel Pryzhko took part. Then there was a very successful laboratory for new children's literature - and now we had a desire to show in the art Theater a fairly wide range of relevant directorial technologies and at the same time talk about the dependence of the theater on related professions, on other spheres of humanitarian activities.
It is quite obvious that today's theater is very dependent on Kleptomania - the dramatic scene is aware of the crisis of its canon and is trying to renew due to the changes that have happened in related professions in recent years. The paradox is that the theater is constantly striving for closedness, but at the same time suffers from it: it is no coincidence that in the vast majority of cases the troupe is not only in a figurative, but also literally one large family, where all on top of each other. Today, in my opinion, the time has come for the “plus theater”, the theater of additions, closely observing the development of related arts. In this sense, we really value the lecture part of the laboratory-it is not so much important for external as for internal work, for internal enrichment: we would like to come to the lectures and master classes primarily artists of the Moscow Art Theater and students of the Studio School-although, of course, we are open to everyone and everyone.
As for the sketches, the idea was that each of the directors participating in the project presented techniques that have not yet been too accepted at the Art Theater. Say, Sasha Denisova will begin to rehearse only a month later, but she has already loaded her artists with work with her own memory - and this despite the fact that work with the text (which, by the way, has not yet been written, there is only a plot of modern Job) has not yet begun. Dmitry Volkostrelov with his experience in theatrical ascet, with his refusal of interpretative directing, puts the text of Michel Welbek - the Russian scene has never turned to the texts of this outstanding writer. It will be very interesting to see how the artists of the Moscow Art Theater will cope with this material unusual for working in the theater: “Staying alive” is not a drama, not prose, this is half an essay, half a critical article, half poetic text, the strongest statement about what it means to be an artist today.
The laboratory is a place where something is displayed. We have the opportunity to take our virus in a very high -quality place.
Dmitry Volkostrelov
Director, founder of the "Theater"
I read this text of Welbek for a long time - at that time the author of “elementary particles” was a very important writer for me, who seemed to coincide with my ideas about modern reality. “Stay alive” is the very early text of Welbek, written in those days when he was not a very successful poet, and not the author of Bestseller novels. I am attracted to it by the rather inelerant, intolerant and unambiguous thoughts of the author about the society in which the poet, the artist has existed, has been over the years since then, and then, perhaps, the art still found the opportunity to somehow exist in the surrounding society. I personally are not inclined to adhere to the position offered in this text by Welbek - the position in which the artist is obliged to put pressure on the pain points, his own and the world around him; positions where the few values that humanity consoles itself are quite unambiguously and unconditionally interpreted - beauty, truth, etc. In today's world, we are accustomed to doubt them, while Welbek explores them and speaks of them as categories of unambiguous and unconditional. It is not easy to explore this text with theatrical means: Welbek wrote, as the artist Ksenia Peretrukhina rightly remarked, the text is without the second plan - in it there is only what is in it, only what is written. It is no coincidence that the subtitle is “to remain alive” - “guide for beginners”, which, in principle, is equivalent to “instructions for use”, and the instruction should be as clear and clear as possible. Working with such a material is not easy - perhaps we will not succeed.
How do I choose the actors? Professional skills have nothing to do with it - I choose not actors, but people. The main thing is that you have some human gears to coincide with each other, you should like each other at least a little: you still have to work together some time.
Sasha Denisova
Director, chief dramature of the center named after Sun. Meyerhold
The laboratory is a place where something is displayed. New virus, for example. Such a wording is quite happy with me. To look for your theater, your theater, your own way to tell stories-and not somewhere, but in a historical place, in the art theater. Of course, awe. Of course, inspiration. Of course, I, as Bulgakov (we from the same city plus graduated from one educational institution), I would like to find my Foma Strizh, Polyxen Toropetskaya and Ivan Vasilyevich here. Myself at the poster - Aeschylus, Sophocles and I.
But this is not the point - we have the opportunity to derive our virus in a very high -quality place.
My actors are beautiful. The main character does not yet say a single word, but the actor has not been upset. The girl-man at the request to learn a difficult equation of Laplace, even for a graduate of the university, only nodded. Everyone decided to read the Bible. Search for children's letters to parents - from camps, from grandmother. Write lists - my complaints about parents. How unfairly they did not buy me a yellow bicycle then. And how unfair I was, clapping the door then. And that's why it's all.
“Job” is a play about the search for his father. A successful financial analyst who graduated from Harvard comes to a remote village to find his father, once the famous mathematician who left the family. In the hope of making childhood injuries and presenting his life accounts, a young man faces what he did not expect at all. The plot of “Job’s Book” is a starting point for thinking about the mathematics of the universe - is the life that has developed with us fair?
Why do the lawless live, reach old age, spend their days in happiness and why does God protect his countless misfortunes for children? How to explain the will of God? Maybe, believing that you have been talking to God all your life, you talked to yourself?