Blitz Creek | Colta.ru

Looking at the beginning of the performance red, illuminated by the red curtain, as if rented from another theater, you think: why is the “misanthrope” written and played by Moliere (Alzest) already in 1666? Where, it would seem, classicism, moralization - and where are our days with the Basmanny Court? Then a huge screen crawls directly on the audience with some nervously pulsating graphic ripples, causing a feeling of uncertainty and anxiety, and the XXI century show will begin-with cameras, make-up artists and large video plans. In the studio-two typical heroes Public Talk : one-cutting truth-uterus in the eyes and reveling in his fearlessness, the other is a cunning and cautious presenter: unexpectedly (at least for me), Alexander Gorchilin-Alzest and the Hall on the shoulder blades from the first replicas of Philippi Avdeev-Filin, unexpectedly turned into a significant handsome man. This chapter Philinton Production with its character, cynicism, idiocy and charm resembles all the main TV presenters at once (Malakhov and Brilev “Misanthropus” are better not to watch) and makes the Moliere text look like Facebook battles. Although the main merit in this, of course, belongs to Dmitry Bykov, who was not afraid of the competition with the brilliant Shchepkina-Kupernik and almost wrote a new play. “Why is it so sausage? From the fact that a lie everywhere ... ”or“ We - society tolerated! ”: In the translation of Bykov,“ Misanthropus ”is understandable even to today's student.

Director Elmar Senkov is not the first to use the showbiz in the interpretation of the classics (recall the famous “ideal husband” of Bogomolov) - but how easy, gambling, artistically and without any icy arrogance, he does it! Here is his subtle game with the image of Selimena: she is a product of the Internet, a sort of Olga Buzova, ready for everything for the sake of subscribers and likes, and a smart girl who despises her environment and sincerely loving alcesta. Ekaterina Steblina in this role is a real pop star, a luxurious, arrogant, lazy gesture, getting Chupa-Chups from panties, as Anna Kournikova once got tennis balls from there. The game of tennis is generally one of the main images of the performance, and all its participants look luxurious in white tennis clothes (artist Vladislav Ohi).

In the translation of Dmitry Bykov, “Misanthropus” is understandable even to today's schoolchild.

The Russian scene - unlike French - is traditionally difficult to give a sparkling exchange of Moliere replicas. We have all the viscous, slow, psychological, without French swiftness and severity: how to do this , we first saw Jean-Louis Barro on the tour of the performances. In many ways, for this reason, the last performance of Efros was not successful - the same “Misanthropus” on Taganka: although the great director tried to find him a uniform in the form of sounding jazz improvisations, but did not work out, the actors did not extend. In the Gogol Center, verbal battles take place on the court, and although the balls do not fly, they lie in the grid, actors with rackets in their hands so accurately throw their own and pour other people's remarks that you listen and look without breaking, enjoying the text. The same technique saved from the edification of other characters of the multi-naval play: hilariously funny both in love with Alcest Hange Arsinoi-Alexander Revenko, and a couple of Markinov morons close to power-Ivan Fominov and Georgy Kudrenko.

The scene of slander in the living room of Selimen is perfectly solved: the reproaches of the neighbors sound in the rhythm of raP. And on the screen - the picture of Olga Tobreluts with the meaningful name "The battle of naked on the eve of the night of the rising crescent." Then English mastiffs will fly along the screen as a sign of European civilization, which is going into the misery of European civilization, and Alzest will remarkly shouting his passionate monologue in a women's dress, standing on the table.

The new Misanthropus once again demonstrated what magnificent actors Kirill Serebrennikov prepared for the domestic scene. The director of the play, which himself is fascinated by the elements of the game, sets very difficult tasks for them - to pronounce long texts, sing, dance, go down on tall heels along the steep staircase and even go to the coffin, continuing their monologue and from there - they cope with all this brilliantly. They are absolutely free on stage: obviously, the inner freedom and self -esteem that the teacher instilled inevitably affect the method of stage existence inevitably. This is a new generation - and the new reality of the acting, which the same Alexander Gorchilin has already transferred to the screen in the film "Acid".

The carriage was replaced by Boeing, but the corner for an “offended feeling” still has to be sought somewhere very far.

But what is the main character? What metamorphoses occur with him, an alcest sample of 2018? Starting with irony and journalism, to which the translator is located, adoring exposure almost in the same way as his hero, the performance suddenly changes tonality. Having lost the court (in the light of known events, this plot is especially hurt by the hall, causing a storm of emotions) and admitting that “in the era of searches, headphones and consequences” the struggle is meaningless, he wants only one thing - to say goodbye to Selimen. Everything is exactly according to Moliere: Alzest, who began the play with dislike for everyone and everything, suffocates from the lack of love and craves it. And the gorgeous final scene at the airport begins - here it is, the motive of exile, the motive of emigration, which first appeared on domestic stage so clearly, with the word “ departure ” on the scoreboard and with a voice impassively announcing the numbers of flights! Alzest, sadly dragging a suitcase on wheels, is trying to explain with Selimen and to captivate it. He himself does not even know, he turns to her or to his homeland:

Here, everyone betrayed you, and I am still devoted to you.
Now, in Brisvia, in shame, without friends,
It even seems to me that I love you stronger.
I don’t remember who said - Montigne, Shakespeare, il Maugham,
Or even Rozanov ... Yes, Rozanov, in my opinion,-
That the homeland is more decent in poverty
And all abandoned, not the way they love .

Serebrennikov did not in vain make a Gogol-center a place of creative and civilian power-these words sound in these walls as a revelation. In essence, the “those” came up with a “theatrical business”, and now they drink, like vampires, juices of life from innocent people just to show who the real master is here. In terms of public significance and resonance, the court in the case of the Seventh Studio can be compared with the famous decision according to Akhmatova and Zoshchenko: the circles from him diverged for decades, and we, naive, thought that this could not be repeated. Maybe as it turned out.

Selimen, she is the Motherland, did not follow Alcest: "No, I can marry, but I can’t do it." After a moment, she will again turn into Buzova - a genuine heroine in demand by society. Show Must go on . The carriage was replaced by Boeing, but the corner for an “offended feeling” still has to be sought somewhere very far. But the hero with sincere sadness is escorted by his entire former gloss of Filin. In his hands - a bag with a drink from Duty Free , nearby-strictly shining at the husband of the Chinese woman, into which Eliant also once fell into love in Altsest. The eloquent final of the career. On the scoreboard, the words of the last monologue of Alcesta shine next to the numbers of flights - now they can only be read, but not heard.

This performance, with all its loud and sparkling entourage, at times resembles a stifled cry of a person who was attacked at night in his own entrance. And what is the reason - the talent of the authors or the situation around us - you can’t break it anymore.

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