The earth is trembling

The pastoral exclamation “What is with the ideals?”, Which is heard from everywhere today, simply wanted to answer. The question of the question. And what, in fact, with the truth? Is it really completely possible without her? Not knowing the truth-at least approximately, a little bit-it is difficult not only to rant about ideals. Without knowing the truth, it’s hard to even lie. I will not reproach the Russian theater for lies, but he is chronically afraid of talking about the present. Every second performance is timeless convention, every third is the Soviet retro. This retro can be a “truly Soviet”, nostalgic song about the main in the shadow of the Generalissimo mustache, and it can be anti -Soviet, with satirical pathos and a fig in the pocket, but we will not stand at all, we will not stand at the past. It seems that we also appeared in decent domestic plays, including on the stage, many gifted young directors appeared, but it is still impossible to find out anything about our youth in the theater hall, and individual exceptions (like the “sneakers” of Lyuba Strizhak, several years ago by several theaters at once, or completely textbook “Natasha’s dream” by Yaroslava Pulinovich) only confirm Sad rule.

And in the “sneakers”, and in “Dream”, and in other plays about teenagers, the truth was a little retouched by the author’s ideals (so, in general, it is accepted, nothing terrible). Minsk resident Pavel Pryazhko (the theater situation in Belarus is slightly different from ours, so in this particular case we allow himself to neglect the state border) does not like to do as it is customary. In his play “The owner of the coffee shop” the hero (or the author himself under the mask of the hero) boasted that he was able to reproduce any discourse, overhearing him on the street. In a two -year prescription, the play “Karina and Dron” grabbed the tail by the tail and pulled out of the hole in the light of God's discourse of adolescents, puberty schoolchildren. As usual at Pryazhko, Dedramatism dominates, the plot is reliably drowned in the deposits of verbal ore. Three girls, three boys, apparently classmates, are probably going from school somewhere, go to McDonald's, they say about the anime, someone there is a kawaii, someone cosplay, no matter what it means ... In these conversations, how often happens at a dangerous age about fifteen, global judgments suddenly slip, something about the fate of mankind, then a strange and apt, then rutin. That's how he sagged, it became not cool at all, the girls complain about the boy. And these suck right on the street-not good ...

The buckle allows itself only one small arrangement. Conversations make up and interrupts the mysterious hum from the ground . This, apparently, is some tectonic processes in underground layers, the playwright in the remark is explained.

For the director Dmitry Volkostroelov, the play “Karina and Dron” turned out to be a good gift. He, in fact, began - in the “locked door”, “evil girl” - with the fact that he tried to show chronology, physiology, and even the metaphysics of everyday life on the stage. It sounded like a mission. Instrumental considerations from the series “It is interesting to put what it is impossible to put” at first was of a utility in nature. In recent years, they began to dominate. Volkostrelov set off in games with abstractions, abstractions multiplied, and sometimes, as in the "Beckett" of the St. Petersburg Youth Theater, reached a dangerous concentration. It was not possible to turn the ground without a point of support.

Here, just like in the films of Alexei German Sr., "I am not heard."

Created in the creative laboratory “Corner” in Kazan (the wonderful brainchild of the Living City Foundation), the performance seems to be a spectacular way out of the emerging creative crisis. Volkostrelov refused to cooperate with professional artists, taking on the role of peers of the heroes of the play - five freshmen of the local theater school and one novice cook. They stand on six small pops, from time to time dull illuminated, sometimes immersed in darkness. They say - not so much with each other, not so much with the hall as with the world in which they have to enter. There is a determining directorial technique. Volkostrelov (the second director was a faithful associate - actress Alena Starostina) forbade the performers to force the vote. Here, just like in the films of Alexei German Sr., "I am not heard." Not the details of the plot details (which, the right of the word, are not important in this play), but the general speech image, surprisingly reliable, intonated in detail, as if you had fallen with your ear to the keyhole and, straining, you can make out the secrets of the generation that will forever remain “youth” for you.

It is even more amazing that in this performance Volkostroelov, the characters suddenly appear individual psychological colors. In the center, for example, there is a bustle Olya, in vain trying to secure the role of a leader, closer to the right flank - a passionate, temperamental Nastya, between them Vitalik, a slightly poser and is not confident in himself ... Karina and the drone are standing around the edges, they are both reinforced concrete, divorced from the team. Once, the director of Volkostrolov jokingly said that he knew one thing about the future, but he was sure - he would not call his performance a choreographer. No matter how funny, but in Karin and Jerus there is an artistic element, related to choreography. The accuracy of the gesture is at the highest level, and these gestures are sometimes reflexive, spontaneous, sometimes ostentatious, picture, with imitative clip plastic. These are the accelerates-we, the baggy teenagers of the 80s, are now honorary Starpers, were not like that.

There is one ingenious moment in the play, before the very applause. True, I am not sure that it was the Volkostroles who came up with him, perhaps someone is higher. The artists are fixed in the full light, and we can finally see their faces in detail. And these faces, slightly frightened, children, turn out to be much younger and more confused than those we expected. Whether they are young, unfamiliar - will sweep us from the face of the earth, think here. Or we are already preparing them a tectonic trap, carefully serving for the future all this trash with aggression and propaganda, new wars and new enemies, new commanders, eager to normalize, punish, sweet and command. And what we ourselves have with ideals, I would like to ask.