Game in the hangar

Dmitry Krymov puts in Riga the play “Notes of the Crazy” with Chulpan Khamatova and Maxim Sukhanov. Sergey Nikolaevich visited rehearsals

The June news about the cancellation of the premiere of the new Russian -language performance Dmitry Krymov “Notes of the Crazy” at the National Theater of Latvia spread widely throughout the media. Many then had the impression that they were not canceled, but the performance itself: the opposition audience was lamented that Krymova is now “forbidden everywhere”, and propaganda openly gloated. Meanwhile, in reality, the National Theater broke the lease and decided not to show performances in Russian on his scene (the play by Krymov “Peter Pen. Syndrome”, staged in Latvian, is in the repertoire). Which does not limit the producers of the play to arrange a premiere in another place. It will take place in September, but for now, rehearsals continue. Especially for Novaya Gazeta Europe, Sergei Nikolaevich visited one of them.

Recently, Chulpan Khamatova started a dog. She does not part with her even at rehearsals. In the dark, I took the dog for a furride or something like a palant, a suit of a suit. Then the pride played playfully with a tail, and it dawned on me that it was a living creature. As it turned out, the dog Chulpan of aristocratic blood and the owner of an incredibly majestic name - Barkarola Valturia Voroko. Of course, no one is able to pronounce this, so her name is just Pina.

“Now everyone who comes to visit me is divided into two categories,” Chulpan laughs. - On those who call her “Pina Kolada”, by the name of the famous cocktail, and those who are “Pino Bausch” in honor of the great choreographer.

I can confirm that the entire rehearsal of Pina behaves quietly and begins to get nervous only when the hostess falls out “loud” scenes. Pine cannot explain that all this is not seriously, that this is the theater. That Chulpan alternately plays in the performance of either Juliet, then Antigon, then Anna Frank. And in the stories of her heroines there are many tears and screams. Therefore, at the most tense moments, Pin begins to quietly howl or yell thinly - like, do not be afraid, I'm here. If anything, I will come to the rescue and save you!

As always, Dmitry Krymov has a theatrical dream on the stage, where everything is woven and confused. And reality, and dreams, and cinema. And some objects in the form of buzzing bees, huge cacti, God's cows.

"We have been born to make the kafka the past." It seems that this time Krymov seriously reaches the Kafika past at the meager meters of a one -room apartment, where a large middle -aged man in a T -shirt shaved, with a shaved skull, is exhausted. In the course of the performance, he will be Romeo, Creon, and Anna Frank's diary. All of them are played by Maxim Sukhanov. Actor of powerful gloomy energy and huge tragic force. It seems that he is one is able to fill a scene that is something like a hangar or a set.

It was originally planned that the prime minister would be played at the National Latvian Theater on a historical stage, where Krymov successfully set up Peter Pan last season. Syndrome". But then the directorate unilaterally terminated the lease.

Krymov reacted to this situation stoically. Well, that means it is necessary. We will play in the same place where we rehearse. So even easier. The decision of the director was supported by the producers of the performance Kirill Zazakin and Daniil Erokhin. Yes, not the center, but you can get if desired. The tram walks. For some reason, the presence of a tram, rumbling strictly according to the schedule, reassured and reconciled Krymov with the fact that the premiere of “Notes of the Crazy” would pass here.

In fact, the emigrant life accustoms to humility. The main thing is to maintain equanimity and not to break off communication with the outside world in the hearts of communication. Do not become close, do not lock yourself in your fears, resentment and sorrows. Do not look back with longing constantly. Although this is probably more difficult. We consist of from our past, from these tears and dreams, from random grievances and memories. What to do with them? Where to hide? How to be with all this?

In the “Notes of Madman”, Krymov offers the only possible option for himself - to lose them again and again. And maybe say goodbye to them. And what would have been played a long time ago, as the “Diary of Anna Frank”, from which the theater biography of Chulpan began (this refers to the production of director Alexei Borodin, in which Khamatova played the student GITIS. - Approx. ), And what did not happen or did not converge a ridicule of circumstances: well, as it could be, that Maxim did not play Creon in Creon in "Antigone" Jean Anuya? It is created for this role.

In fact, this, of course, is the benefit of two outstanding actors. By the way, fate once already brought them in his youth - on the set in the film "Country of the Deaf". And now, after almost thirty years, they are together here again, on the outskirts of Riga.

At the rehearsal of “Notes of the Crazy”, I thought that it unites the creators of this performance, except for their current emigrant status. After all, in fact, these are very different artists. With different experience of life, creativity, theater schools. And they are not guardians and not continuers of some traditions there, which theater studies like to interpret in anniversary articles. But now, creating his own, all three - Krymov, and Khamatova, and Sukhanov - resurrect the memory of the whole theater mainland, almost gone under the water, like Atlantis. “Notes of the Crazy” is a dream about the beautiful Russian theater of the early 21st century, which until recently, it seemed, was unprotected without their glorious names. And now these names are withdrawn, crossed out, ended with posters, from theatrical programs, from the credits, as it happened recently during the show of the Moscow Art Theater Seryozha on Anna Karenina on the Culture channel. There, the name of the director of Dmitry Krymov disappeared, as if he was not there at all.

As there is now a name of the Roman Viktyuk on the facade of the theater on Stromynka, who was created more than thirty years ago ( the new artistic director Konstantin Bogomolov renamed the theater into the “Melnikov Theater Scenes”, but promises to hang a memorable board on the building.- Ed. ). In 1949, in the same way, the name “Moscow Chamber Theater” from the facade of the building on Tversky Boulevard, 23 ( during the campaign against director Alexander Tairov, was smashed in the same way with sledgehammers in the course of the campaign in the fight against “cosmopolitanism.” - approx. Ed. ). Ironically, the directorial diploma of Viktyuk was signed by Alisa Konen with his own hands. This autograph of the great actress and the prima of the chamber Viktyuk especially cherished. History loves unexpected rhymes and rapprochement.

Today is the time of nameless authors, vile seizures, concocted court sentences. The time of the votes altered beyond recognition.

The time of that very unknown Nikita , who, hiding from everyone, testified at the trial against Zhenya Berkovich and Svetlana Petriychuk. After all, we still do not know who it was. What age is this creature and even sex ... a continuous fake. But someday we will probably find out.

“Notes of the Crazy”-a rare performance, a performance-shock. He could appear here, now, in this stuffy, fragmented Riga hangar, where huge fans should be turned on every hour. Somewhere and somewhere, the dog’s dog, worried about the suffering of his mistress. You can’t deceive her with an endless change of costumes and wigs. Under a layer of makeup and theatrical clothes - pain, confusion and at the same time desperate readiness to stand to the end. And to whom, if not Krymov, it is given to hear it.

“Now come to Gubaidulin,” he says quietly to his assistant to Peter Voznesensky, who is responsible for the most difficult score of the performance.

While she is only born in their computer. But Krymov already knows all Oberton, all the finest shades and transitions. He thoroughly studied the everyday gray light, pouring a modest dwelling, outside of which at some point, red flags with fascist swastika will suddenly flash and slowly swim.

During a lunch break, I will tell Dima about my long -standing visit to the apartment on Westermarkt, 20, in Amsterdam, where Anna Frank was hiding with her sister. Now, in order to get there, you need to sign up very much in advance. Endless buses with schoolchildren and tourists. Although what to look at there? A narrow staircase, a cramped closet, a photograph of the English princesses Elizabeth and Margaret, cut out of a magazine and woven to the wall ...

At all times, girls want to be princesses. And Anna Frank was no exception. And if it weren’t for the diary that she conscientiously led two military years, hiding in this closet, until her family was deported to Auschwitz, and then to the Bergen-Belzen camp, who would remember her now?

But the diary is preserved. Anna did not take him with her. Historians are still wondering why she did this. Either I forgot in a hurry, or I accidentally dropped it when they were driven down this ladder, or it was a completely conscious, adult gesture: a book in a pink checkered crankshaft, which she called Het Achterhuis, should remain from her. Literally - "in the backyard." But the great Rita Wright Kovaleva translated as a “shelter”. Now Anna Frank is stored at the Netherlands Institute of Military Documentation along with other main documents of World War II.

The “notes of the crazy” Krymov, as I understood and considered this draft, preliminary rehearsal, should become a number of burning documents of our time. The legendary, indestructible Russian theater. More precisely, his outline, which will probably still change, gain new outlines, color, taste, details. But you can’t confuse him with any other.

Ahead of a few more days of rehearsals. Then vacation. Then the release.

The premiere in Riga is September 18.