Exhibits | Colta.ru

The “neighbor” Pavel Perezhko looks like his other plays - for example, to “Gorky Airport”, where a mother who is waiting for a plane planting is conducting endless telephone conversations about pies, sauerkraut and father's ulcer.

Stextrum does not imply a tie, ups and downs, permission of the contradiction. In the “neighbor” at the pseudo -priority “for life”, which is pensioner uncle Kolya Muryuit in his country section of a young neighbor - pushing a ton of unrelated facts about his wife, wife’s father, wife’s father, pension and TV, potatoes and planting, sharpening and trimmer for haircuts - there is no rudder or shores. The beginning, not the end, and it makes the impression of the absurdist.

But in the performance of the Pos theater , in addition to the pseudo -eating pseudoic, communication failure and lack of feedback, the intrigue, growing Sassens and almost anecdotic discharge of emotions, are found. In the homogeneous structure of the play, not fraught with changes in tension, an event is slyly hidden, which is usually avoided.

The “neighbor”, perhaps the funniest performance of Dmitry Volkostralov is a performance working with everyday life and disavowing everyday life. At the entrance to the performance of the “shift”, the audience is met by an exhibition of artifacts of the garden and delivery economy. Items (pots, buckets, garbage bags) are neatly laid out in the windows and signed by quotes from the play. All of them are at least once, and mentioned in the text of the buckle. There are multidirectional sectors in the room of the place, so there is no single “angle of view”. Labels with Latin names of potatoes, cabbage, carrots and beets are glued to the white floor near each sector: we all find ourselves growing on the beds and all - signed, marked. This scenographic move is the first thing that runs a pseudot flow of life, served without reflection and suffering, without vivid intonational reverse.

Bach's cellular suite, indicated in the Remarus, and sounding in the final of the “neighbor”, serves as a hint that finds not only the musical construction of the performance, but also the “music of life” hidden in the most ordinary conversation-in vain and sad, from somewhere on top of the alien observer from above.

Between our little ones they circulate, through our heads two artists speak for Nikolai and Pasha. The play by the buckle has the fact that, in an endless self -conservation of himself, Uncle Kolya, to a stranger to a young neighbor, find a biography, subtexts, and loneliness, and a Maya who has become no one who needs a person. The nature of the “normal” dramatic artist Igor Nikolaev, who was invited to the performance of the “Normal” drama, part -time, is the father of the artist of the “ Pos theater” Ivan Nikolaev. The close relationship and phenotypic similarity of the father and son is another additional “plot” of this performance.

Igor Nikolaev could easily play the "drama of life." However, Volkostrolov launches a completely different artist’s resource - the theatricality resource. Directory works with a line in principle, in principle, almost any dramatic artist - self -consuming. Self -recognition of yourself in time and space, the need to be seen, and even more - in the fact that CT will become a “viewer” for you, becomes a structural characteristic of the image. It is theatricality that causes a communication failure, obsessive communication in one gate.

Nikolai's eyes have blue, the nose was upturned - the appearance of the baby who was old and did not notice: such a neighbor sometimes comes to my mother, so that, having said a lot of words, at the same time not to say anything, having arranged the genocide with communication. He brings from the exhibition and demonstrates Pasha more and more new things with windows - sharpening, slingshot, trimmer, as if waiting for praise. None of the things are used, is used for its intended purpose, remaining in the system of the play by an art object, an exhibit of the exhibition. In the same way, Uncle Kolya himself is exhibited, whose gaze-not that glass, but some kind of opaque-is not turned to himself or to the interlocutor. Conversation and pronunciation of yourself in objects is a way to avoid genuine communication.

Uncle Kolya does not say, but the further, the more clearly, the “aunt Luda” swarming somewhere in the kitchen, with her packets with old junk, insomnia, refereeing and relatives, masterfully produced masterfully in the sharpening zone, sprouts in his unknown stream of the unconscious. There are no ratings here. The viewer himself summarizes the facts. And now, the Aunt Luda discards its ominous shadow not only to Nikolai’s life, but also to all country households. Becoming a hidden spring of the play, a real Hichkokovsky McGaffin, an object made beyond the narrative, but attracting attention.

What holds Pasha at the gate of a neighbor, which forces to cut and clean a neighbor’s potatoes is another element of intrigue.

Pasha, Ivan Nikolaev, has a quiet voice, imaginary, uncertain gestures with which he either removes, then puts a backpack on his shoulders, and sometimes almost praying tone. The conversation stomping on the spot is supported by lethargic single -sloping tremors - Pasha’s replicas (“clear”, “clear”, “this yes”). Sometimes a return replica looks like an inverse reproduction of the previous replica of Nikolai:

“Nikolai: He did not and will not do it.

Pasha: Yes. He did not and will not be. ”

We do not know why the character suffers genocide communication - the absurd coordinate system does not require clarification. But the only time that Pasha slightly elevates her voice, the moment of truth happens, insight and catharsis. And it turns out that we watched a story about how one neighbor came to ask another to make music quieter ...

The course of the performance, its pauses and fluctuations reveal the elusive cyclic nature of the play. “History in how many objects there”-so it could be called it. I don’t remember exactly how many items Nikolay carried from the window, but for some reason it seems to me that their number should correspond to the six-part structure of the Bakhu suite No. 1 for the cello . Each time, the story of Nikolai is lined up around the produced and demonstrated object - and each time it runs out along with its substantial potential. Together with the potential of the exhibit, the potential of “history” is exhausted: the conversation is fading, and it seems-now the young neighbor will leave the space. But no: Kolya makes a new thing - another skeleton from the family cabinet. Bach's cellular suite, indicated in the Remarus, and sounding in the final of the “neighbor”, serves as a hint that finds not only the musical construction of the performance, but also the “music of life” hidden in the most ordinary conversation-in vain and sad, from somewhere on top of the alien observer from above.

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