Against the interpretation

On February 3 and 4, the St. Petersburg “Posst Theater”, with the support of the Mikhail Prokhorov Foundation, releases the play “Field” by Dmitry Volkostroelov based on the play by Pavel Perezhko. About the outstanding Belarusian playwright and about one of its key texts - Olga Shakin.

I’ll start with the recognition, similar to the remission of my own copyright sins: it is quite difficult to write about Pavel Pavel - therefore there are practically no such texts. There are analysis of performances - that is, critical interpretations of directorial interpretations; You can’t particularly post the playwright himself. Its plays due to mystery and multi -layer are easily interpreted - but this lightness and suspicious: where the interpretations are endless, their meaning strives for zero. As the critic Andrei Pronin wrote in the best text about the elusive phenomenon of Perezhko, "" absurd than the flames of the only praise addressed to him. " If we want to find symbolism beloved by every critic there - we will find him there. But is it not lurking under a slender symbolic layout of a little-woven absurdity, and under the absurd dedicated behind the edges-something completely uninterior?

Regular online and offline communication with the playwright also gives a little: Pavel is one, the author- of course, another. The episode in the production of a pseudo -cumulative author’s monologue about the nature of the Coffee Master’s creativity was well illustrated: as if in an attempt to help the audience to navigate the spectators to the audience to navigate the spectators' correspondence with director Dmitry Volkostrelov - who, of course, did not clarify the meaning. Which, of course, was not. The performance, as Professor GITIS wrote after Facebook, Anna Stepanova, “without encroaching on the human internal freedom from the public, launched the mechanism of self -knowledge and self -reflection in a single parallel action; For spectators who do not experience the infantile need for paternalism from the theater, this is great happiness. ” The goal was not a meaning, but the search for meaning, movement for the sake of movement.

So the famous critical maxim was convincingly illustrated: it does not matter, as the author himself explains his own actions. Pavel Pryazhko is the only artist who successfully eludes the world who has successfully eliminates this principle, which has successfully eliminates this principle. Not a playwright, but as it were, a dramator, actually creating synthetic, as it should be, works of actual art at the junction of everything in the world. There is simply a place in them to music (almost every text has remarks from the series “Song Song”) and the music of the word (Reading the texts of the Perezhko is not at all like listening to them), and at least the visual spoon (the author uses the video, as describing the pictures and simply creating a play from them, as in an almost wordless photoporans “I am free”). But in his techniques, the buckle is practically not repeated-because almost the only one of the writers in Russian understands: the essence of actual art is in the immediate crossing out everything that has achieved in an immediate escape from the height that was just conquered and marked with a flag.

Pryazhko is an author who makes us go against elementary psychology, to study ourselves, as if studying something else; Running away from interpretations, he cancels the effect of the observer, equates the subject and the object.

So, looping between the flags, the buckle runs to absolute non -interpretability. “Doctor, we are losing it,” the same critic Pronin, the author, the author, the author, and the meaning, summed up the analysis of the antiputernalist Perezhko. Provoking us to study his texts, mirroring the reality of Pryazhko (not without reason at the stage when he wrote the successful pseudo -reward plays like “Life was a success”, he was considered the most life -like of the new playwrights) forces us to study ourselves. And this - unlike the study of others - we are instinctively afraid. Pryazhko is an author who makes us go against elementary psychology, to study ourselves, as if studying something else; Running away from interpretations, he cancels the effect of the observer, equates the subject and the object.

The text “Field” is interesting precisely by the fact that it is dedicated to this total self -reference, which - with a specific stretch determined by all the above - can be called the essence of Pavel Pryzhko’s work. The center of the story of Belarusian combiners, faced with the Ecumenical Absolute, is the phrase read by the player by the player Mikhail Efimov: “Perhaps we are the consciousness of the Universe that tries to understand itself.” It is such, in general, the author’s method: Perezhko tries to become our consciousness, with the help of which we will try to understand ourselves. A light key to what was written can be considered that a person named Pavel is fond of quantum physics: not without reason the Minsk poor from the legendary socio-humanistic text “Three Days in hell” is trying to understand what non-cabinal quantum correlations are, reindeer herders from the Chukchi philological experience discussing black holes, etc. These issues are all the more distinguished against the household, simple narrative background that the heroes are asking them completely suddenly-as if some kind of self-knowledge demon for a second got into them and flew back.

The plot of "Field" is the one on the surface, - emphasized soap. The buckle loves the genre Lowbrow - by his own admission (which, as we have already agreed, does not determine anything, but at least interesting), with its help you can avoid bourgeois, that is, stopped like everyone in a row. Named by a line from the song of Nadezhda Kadysheva, “Sadness came, uninvited, here it is cursed” is cast in the aesthetics of the daytime series, “The sad hockey player” is dedicated to naive male poetry, a kind of amateur chanson. The Field is initially pretended to be a focus of the modern village of a modern country by an epper-partmous soap about the life of combiners. There are two couples-the main one (thoughtful Marina and the courageous Igor) and the second-wing (Lihaya-shalai Alena and the gloomy Sergey). Plus, the positive recorder of Pashka and the negative, morally loose driver of the truck. Everyone, as it should, work - mowing, carrying, milking, cleaning, knitting sheaves and erecting stacks. At some point, it turns out that the collective farm has a rare, few people needed-bread-they were disgraced, which have not happened for a long time, cows are crazy, and the chickens rose. Then the heroes begin to work even more intensively. And a little more. And yet. Not quite understanding why.

At the end of the obese zero, the buckle wrote a series of plays that can conditionally be called pseudo -production. Their heroes are stubbornly engaged in some kind of labor, not fully aware of its meaning, with an incomprehensible result. Volunteers in “missionaries” transport imported condoms to rural pensioners, students in the “Harvest” cannot collect apples in a collapsing box, hunters in the Chukchi cannot go hunting. And the efforts of hardworking, like combines in the “field” disappear in a hut - they do not quite understand whose bread they collect, who works in which side and in general where they are, the sides, south, west, east? "Absurd!" - This word dilutes the swearing tirade trying to deal with his own goal -setting the courageous Igor. The destruction in the pseudo -production series is subjected to everything human, everything that holds by the Earth: in “missionaries” - the need to do good, communication with his neighbor, in “Chukchi” - a connection with tradition, in “field” - a connection with the soil. Instead of them, ragged, a strange, unsteady connection with the cosmos, with the Absolute, is established. And this seems to be called self -knowledge.

The “field” gives all possible models of relations with the world in the absence of meaning: “Don’t think, do what it should” (Igor who mows and mows is no matter what), existential confusion (Marina, who wanders aimlessly around the field), a rebellion in an attempt to understand and streamline chaos (Recordic Pavel, who runs to look for mythical Norwegian combiners). “Field” - we will perceive it like this - the text about the worldview, about the search for schemes with which you can coexist with the cold absolute, about which fire to dilute nothing in the edge, so that, a little warm, to turn it into something. Guided by the fact that we suggested the author of Paul Pryzhko, the “field” is a text about finding our own place in the world, which serves as a tool for finding his own place in the world. Which, obviously, needs to be sought - despite the fact that it hardly exists, like the mythical Norwegian combiners on the border of the Belarusian collective farm fields.

The premiere shows of the play “Field” will be held on February 3 and 4 at the “Erarta Scene” .