Behind the closed door

Moscow showed “Hamlet” by Leo Dodin - one of the main favorites of the “Golden Mask”

This performance in Moscow had been waiting for a long time-the lucky ones who managed to see it at the premiere shows in St. Petersburg called Hamlet a real bomb. Lev Dodin himself relates to this work with special trepidation and attention: discussions with the audience after the performance have already become regular, the director answers in detail and readily answers all questions and does not hesitate to ask his public. On the Golden Mask, Hamlet received five nominations - the best performance of a large form, the best director, the best female role (Ksenia Rappoport), the best male role (Danila Kozlovsky), the best male second -plan role (Sergey Kuryshev). “Hamlet” is in every sense a large shape, a large -scale multi -storey canvas, an encrypted copyright message to humanity, performed by a powerful acting orchestra consisting entirely of the soloists of the MDT -Theater of Europe.

There, outside the scene, there is a real living life - but here only gloomy, cold silence, interrupted by the crushed screams of dying, satanic laughter of the killers and smoking sinful copulations

Drama-transformer

Dodin acted as freely with the original source as, apparently, at one time, Shakespeare himself acted, processing and overcoming the stories written before him about the Danish ruler, an obsessed with a thirst for revenge for the death of his father. And if Shakespeare was more exciting than Saxon’s grammar (the author of medieval Danish chronicles, where Amletus is first mentioned), then the play of Dodin really sounds sharper and more modern than Shakespearean. Firstly, Shakespeare's longest tragedy was in a short two-hour size. Secondly, the number of characters was reduced by at least three times (by merging and acquisition of several actors). Thirdly, thanks to the redistribution of the text and the permissions of episodes in the new play, large full-fledged roles appeared, which were content with only a few scattered scenes in the original source.

In the first minutes, the sophisticated viewer is surprised where Gertrude got so many words or why Polonium says the Laert's text, but then, dumbfounded by the swiftness and unpredictability of the actions of the heroes, forgives these liberties. Like others - in this “Hamlet” there will be neither poisoned swords, nor fights. Polonia Hamlet will drive, like a rat, into the corner of the iron cage, strangle the sheets and drop it into the abyss. The lifeless body of crazy Ophelia will also fly there, from which the “experienced” killers of Gertrude and Claudius will hastily get rid of.

A hard stage design, invented by Alexander Borovsky, exactly reflects the cold impassivity of the directorial concept. And metal forests, curtained by white packaging films, will literally turn into a prison with the characters of the play in the final. And the hatches open throughout the scene, melting all the palace secrets, dirty intrigues and sins, gloomy uniforms will score with wooden slabs-that’s the churchyard on which the surviving Hamlet whisper their last words.

Hamlet of destruction

There is nothing accidental in the Dodinsky Gamlet - it even seems that the performance is overloaded with metaphors and hidden meanings, depriving the actors of the air, and the audience - the possibility of empathy. Therefore, non -replacing audience attention is switched to the search for secret ciphers.

The whole hall plays the image of the performance: all the heroes are seated in the first row to look with us with a mousetrap settled by Hamlet. And the numerous doors of the hall even become one of the main engines of action: widely open, they let in otherworldly noise and music, as if there, outside the scene, and there is a real living life, filled with passions, joys, events, holidays - and there is only gloomy, cold silence, occasionally interrupted by the crushed cries of dying and hubborn killers and hubborn sinful copulations. Large plans are blinding like outbreaks of a crazy photographer: the shameless naked legs of Ophelia (it is played by Elizabeth Boyarskaya), half-naked Hamlet (Danila Kozlovsky), shouting “to be or not” from her lifted skirt; half -naked Gertrude (Ksenia Rappoport) and Claudius (Igor Chernevich), copulating right on the floor and caught by an off -masticated offelia; The flute in the hands of Hamlet, with which he squeamishly picks up the lace panties of the dead bride, making them from the fresh grave.

Dodin seems to argue with himself, exploring the nature of the human hell, that blackness of hatred that is born in noble rage and is choking in it. Dodin turns a gamlet in front of us, like a skull of poor Yorik, brings to his eyes, scratches a cold smooth forehead with his fingernail, looks into empty eye sockets. “The connecting thread was torn! How do I connect them to connect them? " - Hamlet repeats this replica several times during the performance, and more deeply and deeper into the stench of his own betrayal, temptations and ambitions. This is a Hamlet of sin, Hamlet of destruction, Hamlet of corruption. This is Hamlet after all. Post-gamer.

"I mix everything!"

All human manifestations laid down in Hamlet with nature, as if under the influence of hellish meat grinder are grinding into their opposite: sensuality and tenderness - into debauchery and fornication, a tendency to reflection and doubt - in obsession, a thirst for justice - in inhuman cruelty. Having dealt with “evil”, the hero is left alone in this endless cemetery of “scraps”: torn flasies echoed by a deserted crypt. “Further is silence” - he will not say right away. Having dressed in a rustling crumpled film like a mantle, he will shuffle, cry, laugh, whistle and choke with tears and words for a long time, unbearably, unbearably, unbearably. And then two workers will carry a huge TV across the scene past the dead Hamlet, from which the new Foretin in a gray suit will announce a course for updating. As if some other performance begins.

Dodin seems to argue with himself, exploring the nature of the human hell, that blackness of hatred that is born in noble rage and is choking in it

In the program published in the program, Dodin shares his thoughts on the back of humanism, which so invisibly turned into terrorism. “The desire at all costs to restore the so -called justice turned into personal terrorism against individual bad people, then into collective terrorism against individual bad groups, human groups, nations ...” The motives that prompted the director to rewrite the Shakespearean tragedy into the language of the 21st century, worthy of deep respect: not every of the living classics is so acute, painful, so close to so close. To the heart to perceive conflicts of modern world order. It is not for nothing that one of the central characters of the performance became the conditional “Marcellus” (he is an actor, aka a grave, aka Horatio), which was again collected from several actors) performed by Igor Ivanov. It was he who, playing for Hamlet, the scene of madness from the “King of Lear”, with one gesture of the open palm, explains the polyphony of the world: “To see the course of things in the world, no eye. Look with your ears. See how the judge is mocking a miserable thief? Now I will show you a focus. I mix everything! One, two, three! Guess now, where is the thief, where is the judge? "

Dodin, having mixed everything, “breaks his Shakespeare” to the accompaniment of crazy tango and the legendary “caravan” of Duke Ellington, pulling the times and eras, tongues and countries to the hellish knot, he undresses human nature to the skeleton, breaks off the heroes of T -shirts and wigs, dresses and underpants. With the same manicity, Hamlet himself is chasing non -existent ghosts on the iron stairs, frantically tearing off the white covers, behind which is only a cold void.

“Hamlet” is significant not only in scale and depth of the plan, this is the rare case when the theatrical language and theatrical uniforms become fully an instrument of philosophical research. And the spectacle remains outside the door.

Photo: Viktor Vasiliev/Press Service "Golden Mask", Yuri Belinsky/TASS