Square land: from Akhedzhakova to Khabensky

Or fragments of the theater alphabet

For a year he was boiling with scandals, he bubbled himself with straightening, but still the most important thing - he shone with the premieres. The theater is so arranged that it should move towards the meaning, to cognition, even if the changeable vector of time indicates a dead end.

Recently, with me, one major director, behind which is a large biography, noted that in the works of young directors, who were shown the festival “Lessons of directing” all the fall, he lacks madness. The angle is understandable-I always want to meet someone who has the right to say: I am new, I am inevitable, I have come!

But the request for frenzy with more than covers the current reality.

The trends designated in the season-2021: at the same time turning point, and dramatic, and comic. Electronic reality gives a voice to everyone; Any act turns the struggle of opinions into a farce, there is an antithesis on any thesis. If someone in passing notes that the earth is round, hordes run on all sides, screaming: square, square!

But on square land you need a real theater. Perhaps even more acute.

Akhedzhakova recently threw into the Vakhtangov Theater hall: “To be or not to be”? The most famous replica in the world was pronounced by her not in the role of Hamlet, but in the role of herself, the star of “Contemporary” and the brightest characteristic actress of Russian scene and screen. And it was not about the metaphysics of being, about the specific ugliness of our reality.

Leah Medjidovna awarded the Sect Legend Award as part of the theater star. And contrary to the fierce benevolence of the moment, she broke the ceremonial template, taking a sharp way. What is happening in the country - with “foreign agents”, lawless persecution, preparation of the execution of the “memorial” ( the organization performs the functions of a “foreign agent” ), the keeper of our memory and pain?

In this crazy monologue contrary to the ceremonial situation, contrary to the time, it was true, entering the humiliated mind of contemporaries. The theater community, intimidated to the extent of non -permit, applauded the actress.

Fear, fear, looking back became part of the lives of the theater people.

But neither the Serb fighters, nor the mourning wreaths on the ladder of her theater, and letters to the prosecutor’s office in the prosecutor's office of the insulted “officers of Russia”, whoallegedly outraged the text of her role in the play “First Bread”, were frightened by the fragile, indomitable Akhedzhakov. The performance set around the “Contemporary” did not force her to remain silent. Well, the theater is alive while the great tradition of Russian buffoons is alive - to throw the inappropriate truth in the face of power and society.

Boyakov , finally, left Gorky’s Moscow Art Theater, whose history has already entered both a person, which failed to justify professional failure with loud declarations. Among the iconic wreckage of his “era” on the boulevard is the favorite of the public Buzov, and the discussions around Stalin, and the relics in a special room, obtained, it must be assumed to overshadow the strength of personal power.

As the Moscow Art Theater was once in the center of the metropolitan cultural life, so now it is there, only with a fundamentally different matter - the historians will not mention such a season: a scandal on the Tver Boulevard, a scandal in the Kamerger.

Zhenovach, at the request of Olga Lyubimova, was forced to leave the Chekhov Moscow time ahead of schedule ahead of schedule. In the Ministry of Culture, he was almost synchronously issued a prize for shock labor and offered to write an application for care. Sergei Vasilievich thought in the old fashioned way: the main thing in the theater takes place at rehearsals, on the stage. Reality refuted it: the main thing happens in the offices; It is important not work, but self -presentation. This exile is a part in our eyes of the rolled drama of the Moscow Art Theater, which from the theater with an art program and a unique history turns into a banal production center at state -based state demotions.

And whether the independence of the theater art studio, which became a branch of the Moscow Art Theater, will return, is a question that is still hanging in the air.

Kalyagin for the sixth time became the head of the Union of Theater Workers. He is still the most indisputable candidate. Probably the only one who is able to control the system of checks and counterweights of the current theatrical life. It is difficult, more and more conflict and unpredictable. And it requires from his head that there was no question of before: civil courage. The position between the community in need of protection and the Ministry of Culture, which threatens the budget club, trying to curb any disobedience, as between a hammer and a gravity. Kalyagin is a brilliant artist, an experienced person and can virtually able to maneuver. But, it seems, the sixth term will be difficult.

Kekhman in the past year fit into the metropolitan theater agenda. His first production with the network full house was a video where the new general director of the theater on Tver Boulevard tore off the photograph of Eduard Boyakov from the wall with the words: “I love you very much, Tatyana Vasilievna!”

Vladimir Abramovich himself is a phenomenon of postmodern.

And the proof of another seasonal trend: the leading positions on the stage are occupied by comic characters. Kekhman’s demand for our time is a topic for future theater researchers.

The number of scandals, including corruption related to his name, did not interfere. It touchingly increases its educational level of paths with the butt peaks. At the same time, the species community of the current head of the Moscow Art Theater Gorky and the previous one, Kekhman and Boyakov, are obvious. Both built a career on intimate relationships with the authorities. Both scandal masters are like a genre. But the scandal scandal is different. Yes, you can turn a blind eye to the courts, a banana past, criminal cases. But - not on letters of the People's Artist to the president. And not just folk - the one that is inscribed in the personal experience of every Soviet man, Tatyana Doronina. No matter how Old Russian and patriotic Boyakov declared himself, “three poplars in Plushchiya” and “older sister” will be stronger.

Under Boyakov, Doronin was not included in the theater. Kekhman first went to her cottage - and enlisted. Eyewitnesses were shocked: in the darkness at the premiere of “women of Yesenin” (Galina Polishchuk’s production), the door opened, a chair with Tatyana Vasilyevna rolled silently into the hall. A woman with a button accordion and a woman with a tree, marked by the poet’s homeland, just walked along the stage.

Krymov this season staged two good performances and one outstanding. “Mozart. General rehearsal "in the" Workshop of Peter Fomenko " - an event and a master theater. Far behind the full -time work in the school of dramatic art; The director-scenographer accurately benefited freedom and failure to do. Entering in relations with different troupes - the Moscow Art Theater Building, “Peter Fomenko’s Workshop”, Pushkinsky - he honed his own theatrical language, in which the broken form collects meaning again.

Lepage , the wizard of the stage, was implemented in the theater of nations "Masters and Margarita" with Evgeny Mironov and Chulpan Khamatova. They argue about the play, the final editorial office will be in a month or two.

Lepage loves technology as a child’s child, and there are a lot of technology in the performance. And Bulgakov in his fantastic realism was increasingly relied on the power of imagination. His sunset romance remains a huge temptation for directing, but so far he has not yet succeeded. We are waiting for February.

Lyubimova became a designer of loud scandals. Her personnel policy - 2021 pulls on the Plutovsky romance.

Today has come the moment when the state, as they wrote in Soviet times, turned to face culture. Its significantly more funds for it. But budget allocations in 2021 became a kind of black mark. Have you allocated money for reconstruction, restoration, development? For the theater quarter or major repairs? Then we go to you! Watching the expenses should be the right person. And in the Bakhrushin Museum, and at the Moscow Medical University Moscow Art Theater, and at the Gorky Moscow Art Theater. And a lot of where else. The main news from Olga Lyubimova is a call to the community.

The Minister gave the foreman to the predecessor Vladimir Medinsky, making the norm of the life of his institution causing neglect of the opinion of professionals.

Rodionov for six months is not the director of the theater museum. But the books conceived by him are still coming out, the exhibitions started by him are unfolding. All theatrical Russia, from capitals to the provinces, stacked hotly and amicably for him. They wrote letters to the highest names, performed, recorded calls on the network. The congress of theater figures turned directly to the Russian government. It did not help. An expert on museum affairs was replaced by a person who did not understand anything in him, and this deprived the institution of personnel, plans and life. Sometimes it seems: the Ministry of Culture, in which all key players are indifferent to culture today, reproduces its matrix in entrusted space.

Tuminas put a masterpiece this season. His “war and peace” reconciles with a fussy reality and, with all the drama of the and reigned complexity of the performance, sheds light on the stage of the future. Only the highest theatrical culture in alliance with talent could give rise to stage speech addressed to the best principles of man. And this is the main gift of the artistic director for the centenary of the Vakhtangov Theater.

Urin spent one of the most difficult seasons in his entire career. The death of a person at the play "Sadko" is a tragedy, the shadow of which goes to the entire theater.

But a large one, of course, continues to live, and tickets for the New Year's sight - the Nutcracker ballet - 95 thousand are on the theater’s website. The economy, which has become the most important criterion for success, today demonstrates the main thing: the theater ceases to be publicly available; Prices for allocation performances cut off a significant part of the public from events, for many children a trip to the famous performance becomes an unattainable dream. As soon as the tickets for the Nutcracker, the resellers reach 300 thousand, the old question arises: how can speculators at the main theater of opera and ballet can triumph from year to year?

Khabensky, after the exhausting struggle of influences, headed the Chekhov Moscow Art Theater. Yes, Admiral Kolchak, a man of honor, whose role he played in the cinema, as Inna Solovieva said, would not approve such behavior. As, however, Colonel Alexei Turbin. But the artists are not like their heroes. Konstantin Yuryevich is a good artist, a noble philanthropist, but the role of the Savior of the Moscow Art Theater is unlikely to be on the shoulder. And although he was eager for the main theater throne even under Oleg Pavlovich, however, it seems, so far it has no clear idea of ​​where to lead the Art Theater and what to do with it at all. The return of a dilapidated “ideal husband” and Daria Moroz with Marina Zudina does not pull the aesthetic program. The voiced vector of movement is imperial: so that everything is "like a grandmother." In other words, as under Tabakov. A controversial goal.

“The great writer,” Brodsky believed, “one who lengthens the prospect of the human attitude, who shows the way out, offers the way to a person whose mind has entered the mind - to a person who was at a dead end.”

Exactly the same can be said about the Great Theater, about the great directing. Right now, when the whole planet is bewildered, the living theater is a vaccine. And those who are engaged in them in the capitals and provinces also do and save. The shamelessness of bureaucratic solutions and the white noise of an electronic communal apartment compromise everyday life, but are not powerful over art. This season presented evidence.