Curtain!

The past has returned to the worst manifestation: persecution instead of dialogue, loyal instead of free, stagnation instead of movement. This is now about the Russian theater, and about Russian reality

Moscow right now, before our eyes, ceases to be theatrical capital of the country. What is happening radically changed the cultural space. The battle did not end, and the theater landscape is already - like after it. Tuminas does not work in Moscow anymore. Krymov, Karbauskis, Serebrennikov left. Ryzhakov “liberated”, Zhenovach is pushed, in small stagnation, at the Moscow Art Theater - Kekhman, in the Kamerger - Khabensky. The city of competitive directing was impoverished by the future.

The first “allowed himself the unacceptable” Rimas Tuminas : telephone provocations of the evil trolls laid out on the network forced our cowardly minister of culture to quickly sign the order to “release” from office. Lyubimova did not delve into, try to save. And Lermontov, Pushkin, Chekhov, Tolstoy, brilliantly embodied by Tuminas on the Russian stage, lost their nothings who managed to publicly substitute the master.

... Around the same time, the head of the Mayakovsky Theater Myndaugas Karbauskis laid out on his Facebook (social network was recognized in Russia as an extremist organization and is prohibited. - Ed. ) VILEUS TREATING ROOKS; A voluntary farewell bow. (The place in Mayakovka was taken by Yegor Peregudov. One of the promising young directors of Moscow did not consider it necessary to even talk to his predecessor, apparently deciding to start from scratch.)

At the same time, Dmitry Krymov turned all his agreements. He left, not supposed to return. Plans and repertoires of different theaters flew due to cancellations and prohibitions. The first sign of time: Loss of creators. Moscow - for various occasions, but for one reason - loses people who created the fabric of theatrical culture. And this will respond with buzzing voids already in the coming season.

"Of all the arts for us, the most important is the scandal!" - The unspoken slogan of the leadership of culture is more relevant than before. Finally, officials are untied by the hands “for the implementation” of their own delusional representations.

The meaningless mergers of the "Sphere" and the Theater "Hermitage", the Moscow City Council and the "bridge" theater marked the beginning of the "optimization" of the process. Further, at the end of the season, dismissal and appointment followed. Joseph Reichelgauz-“School of the Modern Play”, Alexei Agranovich-“Gogol-Center”, Viktor Ryzhakov-“Contemporary” are released from the artistic leadership.

Behind each personality is his own plot. Although they are all covered with layers of one viscous ideological mud. The most transparent case is Joseph Reichelgauz, the founder and author of the idea of ​​the theater of a modern play. On his account since February - the dismissal of Marat Basharov, who supported the special operation, statements about Odessa, to the Motherland, which is not cheated, not those notes in the comments on what is happening. It immediately became clear: "The theater ruined."

In the case of the Gogol Center, they did not forgive the fact of the movement of Serebrennikov to the west with the reputation of the victim of the regime. The debt in the case of the Seventh Studio is repaid? The new film is presented in Cannes, and the performance at the festival in Avignon? Are the statements for the hostile "hill" are made?

To erase the memory of the stage biography, that is, to destroy the precedent of theatrical liberty itself.

The Gogol Center can be treated with ecstatic adoration or indifferently, but Serebrennikov made it a fashionable and loud theater platform, which they passionately loved and passionately hated, which they strove and about which, as we remember, unleashed legal battles with an ideological bulk. Three years that the process lasted, it seemed that the future of this theater fluctuated on the scales of backstage justice, but for the time being, invisible regulators did not want sudden movements. Now - indifferent. A special military operation has become not only a catalyst for decisions in the field of culture, but also a sharp enhancer of the taste of ash in all sips that they do not sing posture to what is happening.

Agranovich could not save the situation, possibly, and did not try.

Finally - "Contemporary." For some reason, I recall the speaker of Garmash before going on the stage, where the coffin with the body of Galina Volchek stood. Sergei Leonidovich in the wings (it was visible from my place in the hall) busily, pulled trousers in a businesslike way: they say, the theater is finally mine. And suddenly it turned out: there would be no inheritance.

Against Ryzhakov from the first day of appointment, war was deeply embedded in the offices of Old Square; In addition, Akhedzhakov works in the theater. A person whose position in conjunction with popular popularity is directly a sickle in the delicate places of the powers that be.

All the bast is here in the line: the play “First Bread” with a bright Akhedzhakov role, “veterans” outraged by him, demonstrative shares on the steps of the theater. And - the signature of Ryzhakov under the letter of Khudruks.

So, new appointments.

In place of Reichelgauz - Dmitry Astrakhan. A person is skilled in all respects. And he puts the plays, and shoots the movie, and knows the audience how to appease, and entered. But at least one theater event for the biography is at least one performance not marked by commercial calculation. Not a single one. But he understands everything about the cashier, and the place is in the center of Moscow.

Anton Yakovlev in the place of Agranovich. He almost wants to sympathize. As a person who has never managed the theater in his life, could you agree to go to the Gogol Center? With his spoiled success of the troupe, with his struggle and achievements already hardened in bronze? The great Efros died, deciding to replace the great Lyubimov. There are valid values ​​fundamentally different, but the frame of the situation is similar. You can’t take the side of the strong, you cannot take the role of the “Savior” of the situation in such circumstances - neither the actors, the audience, nor the story will forgive. And again: who heard about the masterpieces created by director Yakovlev?

Finally, instead of Ryzhakov, the artistic council of “Contemporary”. At the time when he had the strongest troupe in the country, when Efremov, Evstigneev, Gaft, Dahl, Kvasha, Tabakov worked - there was a artistic council. Most of his protocols are still closed.

The participants in the events who recall that serum of truth with non -weakening horror are still alive. In the "Contemporary" today, only a form of transition. What - we will find out soon.

So - the course on cautious and careful, loyal. The calculation is true: any protests, indignant posts in networks fade against the background of the situation in the country. The activities of officials resemble looting undercover. If, according to the results of these personnel movements, it was possible to make a real reform, it would be worth it to last everyone who is responsible for the theater, and wider - for culture - a birch broom. So far, at least something survived.

The departure from the country today is equal to betrayal, the desire of the peaceful sky - treason, condemnation of the actions of the authorities - the verdict.

People's artist Chulpan Khamatova in the summer presented a new play by Ivan Vyrypaev in the London Theater of Tabernakl. The author, his wife, the Polish actress Carolina Grushka and the Russian star actually, in whose name he flew, gathered, came together, and Russian London, took part.

Chulpan, an aatable one hundred plaque at home, participated in the event to raise funds for the fund. In Russia, he is known to everyone as “Give Life”, in the English version of Gift of Life. All three held this action without a penny of a fee, for the sake of children with cancer.

The play is called “The only highest trees on the ground”, finished six months until February 24, and then only slightly, in one day, according to the author, is adjusted.

Drypaev, at the discussion after reading, modestly said that this is the most difficult play in the world. Honestly, we know and more complicated, but if right now, “in the moment”, yes, it’s not simple.

People talk, just talk, and in the meantime civilization is dying, humanitarian values ​​fly to Tartarara, and faith in the “greatness of people has been lost” entirely. Heroes seem to hang over the abyss. On the basis, which once grew a whole dramatic direction of “angry young people”, the text of total denial comes in whole. However, the case is in context; It is now such that the play about the catastrophe - man and planet - is only a pale shadow of reality.

-Why do your heroes live in New York? - asked the listeners at the discussion after reading. Not in New York they live, but on earth.

Among the worlds, in silence shone, so to speak; Heroes have no biographies, no society, and it is impossible to determine who they are by the family of classes. Before us is naked people on a naked planet, thinking and dying in these thoughts reeds.

There is something in the heroines from Chekhovskaya Ranevskaya, something from Sarah Kane, and something from the Macbetan witches. Cruel and impartial, sophisticated and primitive, clinging only for grades, they make their intellectual trade almost without intonations, echoing each other. Two stars, Russian and Polish, only outlined the colors of dialogue. But behind this dialogue, a picture of the planetary finale grew.

Once Vyrypaev wrote the play “Genesis number two”, where, if quite in the way, it was a question of a person’s relationship with God. And now it is a kind of “being number 2022”, where it is about the fact that God and man no longer have a relationship.

Uyghurs and other peoples, disappearing "in order to call us." Artificial pigs and new meanings. Someone with a nuclear bomb, which is about to “close this whole cultural project”, the digitized brain and Muslims who “think that they are, but in fact there are no them either,” is only a small part of the layered body of the play.

It has a lot of mat. The black mat, which is inextricably merged with metaphysics, poetry and despair of the text. The author’s language speaks about the phenomena behind the line, the maximum vocabulary of the ultimate states. At times, this seems unnecessary and - repulsive.

- Chulpan, you could play Stoppard and Shakespeare, do you understand that this is a very bad text? - After reading, the question from the series “no longer happens” one respectable viewer.

But Chulpan, an experienced fighter, was able to answer, not offending anyone. However,

Drying has long been higher than insults. He is a kind of fundamentally restless wanderer who had a long time ago from Irkutsk and walked around “by all land”,

He managed to combine amateurism and a high request in his thoughts about life, created his own style, raised many unbearable questions. And he reminded everyone that drama is primarily a big idea; In her search, sometimes you have to go down to hell. At the level of the text, he denies everything: intelligence, soul, formats, meaning. But not the element of the word. He is a poet, even using a dirty, obscene speech. And the philosopher, slightly homegrown, but brave.

So, according to the author, “our garden always and never changing new love,” as before the fall, consists of high trees-people.

Concluding the discussion, Chulpan said: forty percent of the sacrifice of her fund unsubscribed from the donates. Because of disagreement with her position in Ukraine. Forty percent of philanthropists chose to leave the children to die.

“The only highest trees on earth” - and about it.

There are still performances in the repertoire of Moscow theaters - confirmation that the artist feels tectonic shifts in the layers of time before reality is presented; The works of different years look both prophecy and foresight.

One of the most significant is Mepho in the Chekhov Moscow Art Theater; The basis of the production of Adolf Shapiro is the novel by Claus Mann. The main character is an actor, a cool rising star of the German scene. As you know, the prototype of the Mannov hero was indeed set at the head of German theaters; He was patronized by Goering. Duet Dialog Alexei Kravchenko and Nikolai Chindyaykin, the artist and his patron, the main line of the performance. In the Third Reich, the mission of culture was the spread of the Nazi worldview, the cult of Great Germany, national traditions, and the Nazis considered the scene as a field for broadcasting their ideas. The control tool was the imperial chamber of culture under the leadership of Goebbels. Slowly, gradually he introduced prohibitions on the work of opposition or criticism of power. Shapiro put a luxurious bath on stage, it is in it that the hero learns about the change of regime, it is she who becomes a key life argument: the need for comfort wins the need for humanity. A person wants to bask in a warm foam, hear applause, and he will have to urgently take his mistress from the country, pull out an old friend out of the camp, and to listen to the “attitudes” of the patron. And the artist is irreversibly degenerate into a creature who honors with the whole cholester: the main condition for success is the correct worldview. Mephisto, the current Khabensky artistic director from the repertoire took a quiet way.

But, as you know, one door is slammed, another opens. The premiere performance of Mikhail Levitin “New Mokinpott” is built as a universal rhyme to everything that happens to us.

The author of the play Peter Weiss was prohibited in the USSR in the seventies, it is he who owns the work of the "aesthetics of resistance." In 1968, Levitin staged this performance on Taganka, the current work was dedicated to Lyubimov, Borovsky, Vysotsky. The answer to the question why the director decided to return to the old material through a lifetime, in the performance itself. Peter Weiss's play enriched the play by the poetry of Encensberger and Julia Kim. About Kim, everything is clear: a cheerful ironist who has even mockery. Hans Magnus Encensberger is a poet and writer, in whose biography there was a Hitler Youth and a literary connection with Bella and Grass, and participation in the German national discussion: whether the people in the military crimes of the regime are guilty. And here are the lines from his “Songs about those that everything concerns”, exploding the hall:

That something needs to be done

and do it immediately -

We know this already.

What else is too early

To do something

What is already too late

To do something else,-

We know this already.

And the fact that we are all right

And that it will be so further,

And that it does not make sense -

We know this already.

And the fact that we are to blame

and that we will do anything

We cannot be guilty

And what we are to blame,

that we can’t do anything about it,

And that this is enough for us -

We know this already ...

Another sign of theatrical trouble: the norm of persecution. Nuclear irradiation of social networks is a everyday process, how to brush your teeth.

Evgenia Mironova poisoned. Palked Julia Aug. And how many heavy stones were thrown into the back of Anatoly White , the prime minister of the Moscow art, which published a farewell letter before leaving the country. All names and plots cannot be counted. Once Bulgakov wrote that the power of the twenties in the Soviet press deliberately encouraged aggression, encouraged hatred. Because a society breathing hatred is split and powerless. Today, the absolute electronic repetition of those times is telegram channels. There, animally hate everyone and everyone, manipulate, lie, rape the consumer's consciousness. And how Soviet newspapers (which Professor Preobrazhensky advised not to read) reflected the face of the Soviet regime, so today's telegram poles-a bright face of customers. They need the only thing - working loyalty.

“... I'm tired during this time. At such moments, you will curse an acting ... I am lying on sleepless nights and thinking who I am, which party I belong to. It is difficult to determine! Everything is sick, everyone is abnormal and infect each other. What horror to play and rehearse at such a time ... "

Stanislavsky wrote this on the eve of the 1905 revolution.