The house built by Cyril

There are three of them. Royal, man and bailiff. With his left hand, a person performs a bach on the piano, and the right is chained to the indifferent world, which was embodied in this faceless representative of the system.

This scene collects the most loud and long-term applause from the Gogol Center Prime Minister. It is clear why: Basmanny justice, arrested by court decision of the royal of Yamaha and other well -known circumstances of the “Seventh Studio” case .

But the performance of Kirill Serebrennikov is still not about those handcuffs that on the right hand, but about much stronger ties that do not allow the artist to break away from his piano or installation table. The first rhyme that comes to mind is with Lars von Trier’s film “The House that Jack built”, where there is a similar frame: around the madness and hell, and Glenn Guld, not taking his eyes off the keys and singing himself, over and over again, repeats Party No. 2 of all the same Bach.

Of course, I could not see this picture of Serebrennikov: last spring, when Trier brought her to Cannes, he was already sitting under house arrest and composed a future performance. But “Baroque” and “The House that Jack built” is about the same thing: about the nature of creativity and about the ad, surrounding the artist. Well, about yourself, of course.

Like the new trierov cinema, Baroque is full of references to his own and other people's work: an attentive viewer will find self from the recent “Müller car” and an old “naked pioneer”, from “Ordinary History”, “Sleep on a Summer Night” and even from “Idiiots” based on the film Trier, staged in Gogol Center five years ago.

If we talk about the structure of this Gezamtkuchnik, then the Baroque from the latest Serebrennikov’s last performances is most like his own “Müller car”: the scene is everywhere, the time of action is always. Andy Warhol can easily collide on a walk with Jeanne d'Arc, arias from operas of Monteverdi and Handel float on the philosophical texts of Zeleza and Georges Batai, and the frames from Zabriski-Pontunt or American Beauty, starting on the screen, flow into the hall. There, at some point, actor Nikita Kukushkin will go there, at some point, to interrupt the performance of a great interludes with a transplant leitmotif “We will all die”. There are no rules, guys, this is Baroque.

Both Baroque and the “house that Jack built” is about the same thing: about the nature of creativity and about the hell surrounding the artist.

Ten episodes are mounted in a bizarre order, and this bizarre itself is related by the performance of Serebrennikov with a baroque worldview. The world created by the director, he himself in the preface to the booklet “Baroque” calls the “third place”, which is somewhere between reality and imagination. And if so, the most important thing here is not a dream itself, but rather the dreamer's personality. “If you write a“ baroque person ”, then we will talk about the man of the Baroque era, but if there is only one horizontal line between these words, then a“ baro-baro ”will turn out, that is, a wrong person, a strange person. A person falling from normal, familiar, suitable. Human-hand. Man affect. The man is Bol, ”writes Serebrennikov.

The Bulle man is the eternal hero of the performances of Kirill Serebrennikov. Trying to break out of dull reality, he is doomed to shame: the 14-year-old Maxim from the Sigarevsky Plasticine, who once brought the director, and the heroine of Chulpan Khamatova in the “naked pioneer”, and even the Trierov idiots in the production of Gogol-Center.

But the Bulle man is also Trierov Jack, who so outraged the audience of the Cannes festival with his hypertrophied violence. Although the house built by him is in the same “third place” described by Serebrennikov, and the violence that this imaginary serial killer dreams exclusively in his imagination. Execution and seeing in his Jack any artist and himself, Trier drives him the final descent directly into the Dante hell - the so -called Katabasis. Infernal fire follows it on the heels throughout the film.

Fire is one of the main characters in the play “Gogol Center”: he would even become a subtitle with a subtitle . But if for Jack the only way to leave this fucking world becomes Katabasis, that is, a descent into the underworld, then for Serebrennikov a fire is the path to Anabasis, that is, to ascension. The usual hell is a place where you pay a mortgage until the end of your life and tolerate humiliation from the boss, but there will always be people who are ready to climb the fire and fly to the sky in the form of ash. Jeanne d'Arc, Yang Gus, a Czech student of a hem-fireman Jan Pahhh and a madman from Tarkovsky’s “nostalgia”-each of them went up to the fire and made his own Anabasis.

And the final frame of Baroque becomes a seductively beautiful scene from Antonioni’s film “Zabriski-Punt”, where not just human dust, but a whole mansion flying into the air. Burn guys.

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