A well -made play

Hudor Tsima Viktor Ryzhakov again puts his beloved playwright: from the romantic “oxygen” in “Theater. DOC ”began the Moscow part of their biography, which lasts a“ solar line ”after fifteen years. There are also two protagonists, but these are no longer rushing to each other at space speed Sasha and Sasha, and the respectable bourgeois Barbara and Werner, trying to at least not divorce - let everything go to this at five in the morning in the kitchen of their prosperous house.

Ryzhakov is a record holder for the production of Vyrypaev’s plays: “Genesis No. 2” with Svetlana Ivanova and Alexander Bargman and “July” with Polina Agureeva in “Practice” plus three performances in the Moscow Art Theater. Chekhov is formed in many years of dialogue, which the director leads with the most important Russian -speaking playwright of our time. The territory of this dialogue and at the same time its subject is an acting, studied by Ryzhakov, year after year. Having chosen Vyrypaev in the interlocutors, Ryzhakov-director and Ryzhakov-pedagogue set himself a difficult task: to figure out the notorious new naturalness, sewn in cunning, relativistic texts, so skillfully deceiving the viewer, ready to believe that the Vyrypaevsky elegant tricks and there are philosophical instructions for life.

At a wide qima platform there is a platform pulled out with craft paper (Ryzhakov first works with an outstanding scenographer Nikolai Simonov), in the center of which Andrei Burkovsky and Julia Peresild were frozen in Barbara Brylian fur cap. Musical signal - and the verbal battal begins, in climaxing the assault: Closer to the finale, dressed from Bosco di Ciliegi Heroes of the "Sunny Line" will beat each other with all the possible ways, as in horror stories, with caricature breaking hands and delicious blows into the groin. The background for the exhausting, pathetic, funny duel, sprinkled with an elegant obscenity, is the video of Vladimir Gusev, depicting either the interior of the house, then the oblique rain, and at the time of touching recognition exploding the scattering of the cosmos.

The letter of the play is the letter of the performance.

The honescence and repeatability of the form, mounted on a rigidly set rhythm, allow not only to find out the branded handwriting of Ryzhakov, but also to feel the texture and music of the Vyrypaevsky play. When the paper is pulled off the brilliant mirror surface, and the platform is turned horizontally, the artists will be in the territory where each movement and every word can be deadly risky - both in direct and in a figurative sense. The “Solar Line” in Tsim is a performance about how difficult any attempt at communication is and how it is sometimes easier to neglect than to fight to the end.

According to Vyrypaev (and why is he not a theorist of the modern theater?), The letter of the play is the letter of the performance: the more concise the director will be, the more successfully he will cope with the text. The “Solar Line” really resembles a small engine of the folding mechanism: in it the word is tantamount to action - and this is not a game in a situation, not a system of successful reprise, but a chain reaction of a theatrical dialogue, in which the very first replica works as a trigger. There are such recognizable Barbar and Werner in their frustrations, reminiscent of the heroes of countless bourgeois television, the word leads, deceives, prevents them from establishing contact - but ultimately gives a chance. After spending several hours in a row, they make a circle: from complete misunderstanding - to an attempt to get closer to each other, however, under other people's names.

The effect of the "solar line" is based on a combination of tenderness and brutality, irony and pathetics, and this game requires the performers at the same time both high skill and the renunciation of crafts. The secret of the correct performance of the play lies in the maneuver between the genre, pronouncing the text at high speed, character and the ability to remain oneself. The genre of a stylized family drama is given to both easily: the audience laughs, learning in the heroine of rewind the entire range of female from softness to bitchiness, in the hero of Burkovsky - crazy about the irrational logic of the partner of the archetypal man. The text of Vyrypaeva flies like a comet, sometimes crashing - thereby producing a comic effect - in attempts at the stage to explain everything with household logic.

But with regard to the personal presence, the “solar line” is an antithesis of a simple and energetic “oxygen”, which has forever broken the course of the latest history of the Russian theater. In the straightforwardness of the then Vyrypaevsky manifesto, the creature of the time was seized by the exacting new sincerity and nihilism - and did not find them in the theater. In the sophisticated constructions of the Vyrypaevsky plays of the 2010s, sincerity is hidden behind the system of removal-but the life potential is also preserved in them: passing through the play, like through fire or water, the viewer receives the real experience of “treatment with a word”. In this sense, one of the subtitles of the “Sunny Line” - “Comedy, which shows how a positive result can be achieved” - very accurately reflects the reality of the play of Ryzhakov: with the correct performance, the result is evident.