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Royal hunt. Theater named after Vakhtangov. Press about the play

Kommersant, November 5, 2002

Empress for 40 minutes

Maria Aronova played Catherine the Great

The Vakhtangov Theater played the premiere of the play "The Royal Hunt" based on the play by the famous Soviet playwright Leonid Zorin. Directed by Vladimir Ivanov expanded to scale big scene a modest graduation performance, which a few years ago he staged at the Shchukin School for two of his talented students - Anna Dubrovskaya and Maria Aronova. The latter even now brightened up the theatrical evening for Kommersant's columnist ROMAN DOLZHANSKY.

Famous Soviet playwrights different reasons silent throughout the 90s, this season they again become newsmakers. Mikhail Shatrov finishes new play about Lenin and thinks about pedagogy. Alexander Gelman wrote a text on the topic of the day - about dirty political technologies in the presidential election. But Leonid Zorin returned to the theater with old play. "Royal Hunt" was written in historical plot about Catherine and Princess Tarakanova: the Empress sends her former lover Count Orlov to lure the impostor to Russia. She pecks at the bait, falls in love seriously (he, as it turns out, too) and as a result ends up in the Peter and Paul Fortress. In the 70s, Roman Viktyuk staged one of his best performances based on this play at the Mossovet Theater - with Margarita Terekhova, Lyudmila Shaposhnikova and Leonid Markov in the lead roles. Since then, the play has become exactly as outdated as a strong, honest play by a good playwright should have become outdated. Moreover, any historical plot from the life of Russian tsars was then perceived with distrust by the censors, and the author, although he was not listed as a dissident, did not fail to weave all sorts of taunts about power and its relationship with the artist into the amorously adventurous plot.

Clever editorial scissors are crying today for the Royal Hunt. But Vladimir Ivanov decided to leave everything as it was. IN Eventually, the main thing in this play is two female roles. A few years ago, students Anna Dubrovskaya and Maria Aronova played them in a successful graduation performance. Now they have become the young prima prima of the Vakhtangov troupe, and the theater has decided that a double remake of the play and graduation performance will adorn the repertoire. Senior artist Iosif Sumbatashvili packed the stage entirely in white, and in the middle of it he set up two bulky rotating springboards with sovereign symbols on top. The performance itself is such that it could have been staged 30 years ago, and, unfortunately, in 30 years, it can be staged. It is located in that dull, timeless theatrical dead end, where from ancient times it was customary in prologues in the dark to slowly walk across the stage with candles, use music as emotional illustrations, force emotions themselves with old-fashioned theatrical voices and facial expressions, and mark the change of episodes with nasty divertissements of dressed-up servants. The name of such performances is legion, it is useless to disassemble and describe them, and just for such performances theatrical art do not favor people who expect living modern energy from any art.

Among all this hopeless routine, Maria Aronova perfectly plays Catherine the Great. The empress, whitewashed and covered in velvet and brocade, seems to have little feminine left, but in her speech and movements there appeared a resemblance to a mechanical doll that was slipped onto the Russian throne. She speaks with an artificial German accent, makes significant pauses, looks at one point, and leaning confidentially towards her interlocutor, she almost bumps into her neck. Ms. Aronova, in other roles often emphasizing the techniques of sharp character and playing recklessly, without brakes, here shows a class of masterful comedic minimalism and at the same time - that high eccentricity, from which unaccountable fear suddenly creeps through. You won’t understand what this mistress doomed to loneliness really thinks huge country. Usually, from this kind of roles, you expect a breakdown, a moment at which the heroine will give free rein to something that has accumulated inside. However, Maria Aronova remains faithful to the chosen drawing to the end. The more terrible is her revenge: one must see how tears of jealousy well up in glass eyes and how the queen sends Count Orlov to personally interrogate her captive rival. "This is for you from a woman, and the empress will reward you" - last words roles addressed to a former lover, after which Catherine, apparently forever, turns into a royal idol. It is a pity that the theater will most certainly not agree to shorten The Royal Hunt to 40 minutes and show only those scenes in which Ekaterina participates.

Izvestia, November 5, 2002

Elena Gubaidullina

Earthly love and heavenly love

Premiere of "Royal Hunt" at the Vakhtangov Theater

The new "Royal Hunt" is a simple and correct performance. The roles are well crafted. Light and musical accents are precisely placed. Historically accurate costumes. Minimalist decorations only indicate the scene of action, without diverting attention from the main intrigue. Catherine the Great brutally cracks down on the impostor Elizabeth, in the hunt for a deliberately weak victim, she seeks to console not so much the state as women's ambitions. But the more carefully the play is presented, the more often the insidious question arises: "Why?"

The audience was once again told that the world is based on opposites. Love and power, dream and deed, weakness and strength. Although the performance promised more complex parallels. The roles of rivals were played by Maria Aronova (Empress) and Anna Dubrovskaya (Elizaveta) - one of the most interesting young Moscow actresses. Stage director Vladimir Ivanov has been nurturing them since the first year of the Shchukin School and understands the individuality of these actresses like no one else. And Ivanov took up the play by Leonid Zorin for the sake of his talented students. I took it for the second time. Once upon a time, Aronova and Dubrovskaya played "Royal Hunt" at the graduation - in a student way recklessly, directly and recklessly. Now we have returned to the past, becoming more skillful.

Every intonation, every gesture and pose is thought out and weighed. But the performance now and then breaks up into two picturesque portraits from different galleries. Unshakably self-confident Catherine II is drawn with juicy oil strokes. Aronova's realism is so meticulous that no, no, and yes, it will slip into a caricature. Thin and fragile Elizabeth is sketched with cursory romantic touches. Dubrovskaya plays not a seductive adventurer, but a tender child who naively believes everything - signs, horoscopes, and the deceptions of her beloved. Snow-white sylph robes, fluid plasticity, a touchingly breaking voice - these are not contenders for the royal throne, but magical creatures from dreams.

According to the play, the rivals hate each other, but they never meet in any scene. Absentee hatred emphasizes a separate existence - each in itself, and the confrontation is not justified in any way. In the game of Aronova - the enjoyment of power and the virtuoso ability to hide their feminine weaknesses. Weaknesses nevertheless break out, and at such moments the actress rises to the heights of skill. Jealousy, love and passion drive out arrogant rationality, tears well up in the eyes, accustomed to probing, boring glances. The game of reincarnations is boundless - self-control returns to the mistress, the voice is again squeezed: either an accent, or a talker, or a pretense. Again, ready to execute and pardon.

The whole stage from floor to ceiling is covered with white silk - in such a space the characters look like exhibits on display in a museum showcase. A curved structure rotates in the center, turning either into a throne, or into a ship, or into a bridge (set designer Iosif Sumbatashvili). The toy marches of the palace soldiers also contribute to the measured change of scenes. In eighteenth-century costumes, every curl of the pattern is thought out (artists Maxim Obrezkov and Svetlana Sinitsina). Theatrical scholasticism, with its plausible rings and wax seals, matches Zorin's historical demagogy. Probably, in the early 80s, the maxims about the benefits of strong power and that "stagnation is more dangerous for a great power than defeat" sounded strong and sharp. Therefore, the director could simply dissolve into the actors, not caring about the play of theatrical metaphors. Now - other times.

Culture, November 14, 2002

Irina Alpatova

Stagnation is more dangerous than defeat

"Royal Hunt" by Leonid Zorin at the Vakhtangov Theater

In the early 80s, this play and the performance of the same name by Roman Viktyuk at the Mossovet Theater were an incredible success. And not so much thanks to the intriguingly adventurous plot, but because of the very relevant subtexts and semantic allusions. It was tempting to hear from the lips of Catherine II a bold phrase that "stagnation is more dangerous than defeat" at the moment of the triumph of this stagnation. Twenty years later, the old courage turned into nostalgic irony: times have changed, and utopian prosperity is far away.

But not only times have changed, but also theatrical priorities. The semantic refinements of the text faded into the background. Instead, they want to enjoy the director's metaphors, appreciate the staged approach to the dramatic material. Leonid Zorin did not correct or adapt his play in any way. Had, however, full right. The director, Vladimir Ivanov, treated her with marked reverence and tried to read her "in faces". As a result, the action turned into a series of panoramic displays, clearly inserted episodes with the participation of random characters.

You experience something similar during a boat trip "along the rivers and canals of St. Petersburg." Here Winter Palace, and there - Catherine II. And here is the "Italian house" - from its balcony something sweetly broadcasts great playwright Carlo Gozzi. Or suddenly a certain romantic building - and outside its windows a serious drama of young lovers is being played out. The ship sails on, and the characters remain beyond the line of visibility and attention and are immediately forgotten.

Perhaps the only unifying element of the performance is the inventive and functional set design of Iosif Sumbatashvili, with semantic and "atmospheric" accents clearly imprinted in it. Luxurious white draperies - both sails and Russian snow. A giant throne that looks like either a springboard or a children's slide - climbing it without outside help is almost unthinkable, sliding down is as easy as shelling pears. The throne can suddenly split in two, just as royal power splits into true and self-proclaimed. One more turn - ready bow of the ship, taking the heroes to distant Russia. A barred window will open reverse side ship-throne - here's a casemate for an impostor. And expensive, and large-scale, and at the same time leads away from the scrupulous planting of household signs of the "eighteenth century", does not force you to build an entourage of Moscow, St. Petersburg, or even further - Rome. Moreover, these signs are quite enough in magnificent costumes (artists Maxim Obrezkov and Svetlana Sinitsyna).

But it is difficult to trace the event-psychological unity of the plot. Three autonomous logics - historical authenticity, author's interpretation and stage decision - remain as such.

Unless Catherine II - Maria Aronova is very convincing as an actor and humanly attractive. Although this is a lot. Succeeded for a very a short time to become a star (only her appearance in public is accompanied by applause), Maria Aronova, a truly brilliant actress, is now in a state that is very dangerous for genuine creativity. Endless self-replication on advertisements, TV shows, serials, entreprises has not brought anyone to good. But her Catherine, fortunately, was able to leave all this behind the scenes. And at the same time, Aronova brilliantly demonstrated the synthesis of all her acting incarnations - both a clown, a comedian, and a master of psychological intrigue. The white-washed empress, clad in a ceremonial "robe", with tongue-tied womanish intonations, is sometimes hilarious to the limit. But the actress does not let her heroine break into the caricature-cartoon abyss. Instant transformation: and instead of a rustic wench in front of us - the autocratic Empress of All Rus'. A tenacious look, an imperious voice, a regal stature. But that's not all. The soul of this female empress is in full view. You understand everything: both human insults, and love fiasco, and maternal disagreements with the future heir Pavel. Nothing is hidden, although Ekaterina-Aronova behaves very reservedly.

And everything would be great, but only she has no equal in the performance. The story of love and betrayal associated with Elizabeth and Alexei Orlov is too tinsel and romantically powdered. Here are passions to shreds, and sobs, and otherworldly voices, and wringing of hands, and graceful balancing on a swing, and an endless change of luxurious clothes. And there is just no authenticity of feelings, only beautiful game in love, which is somehow hard to believe, since both are utterly stereotyped: the sublimely transparent Elizabeth - Anna Dubrovskaya and the brutally passionate Orlov - Vladimir Vdovichenkov. The spectator who does not know the true plot (what if there is one?) will find it difficult to figure out what, in fact, happened?

By the way, Catherine’s statement about stagnation can easily be attributed to the current situation in Vakhtangov theater. Yes and in last years there were, if not victories, then quite noticeable phenomena - the same "Cyrano de Bergerac" by Vladimir Mirzoev or "Inspector General" by Rimas Tuminas. But they were connected primarily with the success of directing. And if the performance is played in the old fashioned way, with an eye to the fact that the actors will somehow get out on their own, then the same stagnation results. Which, as mentioned above, is much more dangerous than defeat.

Evening Moscow, November 21, 2002

Olga Fuchs

Dislike is worse than imposters

L. Zorin. "Royal Hunt". Directed by Vladimir Ivanov. Theatre. Vakhtangov

The "Royal Hunt" by Leonid Zorin is a truly unfading play. And the film was shot on it, and a wonderful performance by Roman Viktyuk was in the theater. The Moscow City Council was going on for more than a decade. Vladimir Ivanov, director and teacher, returned to the famous historical melodrama Soviet era and released a performance that became the epitome of moderation and accuracy

In the story of the impostor Princess Tarakanova, who died because of her love for Count Alexei Orlov, who fraudulently brought her to Russia to be judged by Catherine the Great, but never recovered from his anguish, for he himself fell in love with his captive, - so, in this Leonid Zorin tried to fit in as many signs of the 18th century as possible. In this epic play, there was even a place for a scene where the great Italian playwright Gozzi vilifies his no less great lifelong rival Goldoni. Why the performance seems to be overflowing with optional episodes and passing roles. The reputation of a good teacher and long work with students are reflected in this production by Vladimir Ivanov. God bless her, with the concept, with metaphors, with tempo, with modern accents. The main thing is that the actor plays. Let's leave the middle peasants, who are many in this densely populated performance. Let's name the "excellent students" - the charming macho Vladimir Vdovichenkov (Aleksey Orlov), Yuri Kraskov in the role of the timid piit Mikhail Kustov, who, according to the eternal tradition of the Russian intelligentsia, slowly becomes an inveterate drunkard so as not to burn with shame for what he sees; the foolish executioner-priest Sheshkovsky performed by Alexei Pushkin and the nimble Boniperti, Tarakanova's secretary (Yuri Chursin, taken to the theater quite recently, even attracted attention in extras).

However, it makes sense to stage "Royal Hunt" in the first place, if there are worthy actresses for the roles of Tarakanova and Catherine II. Vladimir Ivanov looked after these actresses while still a student, having staged "The Royal Hunt" in the fourth year with Anna Dubrovskaya - Tarakanova and Maria Aronova - Ekaterina. Now, remembering that the new is the well-forgotten old, he again staged "The Royal Hunt" for these actresses - now young prims of the Vakhtangov Theater.

In the first act, Anna Dubrovskaya's Princess Tarakanova appears as such a complete predator and cunning intriguer that it is very difficult to understand the men who without exception sympathize with the supposedly secret daughter of Elizabeth Petrovna. Remove the crinolines from her, change into an English suit - and in front of you is an inflexible business woman of our days, who has gone through fire and water and will plug any representative of the stronger sex into her belt, if not with intelligence, then with cunning.

And only by the second act, throwing off all these magnificent crinolines and sharp intonations, sparkling with mermaid eyes, caressing her beloved, trembling with fear and determination, the actress plays what she certainly knows how to play - love.

But who saves the cumbersome first act and truly reigns in the second is Maria Aronova. A whitewashed face, furrowed eyebrows, a slight accent, an impenetrable look - a mask of power. And behind her is the wisdom of an old woman, the sophistication of a courtesan, prudence and eccentricity, revenge and insight, a raging ocean of indomitable femininity and the rigidity of absolutism. And - dislike, chronic, protracted, already unbearable, which is worse than any impostors and external threats to the state. And - immeasurable loneliness on this snowy peak of absolute power, where she climbed with such persistence, destroying enemies, losing friends, mercilessly breaking with her lovers, not forgiving human weaknesses.

P.S. The best female role season is an eternal stumbling block for the "presenters" and "discussors" of theatrical awards, including the national "Golden Mask". In the latter, everyone can not decide whether it is possible to play best role not in the best show. And although the end of the season is still far away, the example of Maria Aronova proves that by denying such an opportunity, we are greatly robbed of ourselves.

L. Zorin
Staging: Vladimir Ivanov
Catherine, Empress: Maria Aronova
Elizabeth: Anna Dubrovskaya
Alexey Orlov: Vladimir Vdovichenkov
Grigory Orlov: Evgeny Knyazev
Bushes: Yuri Kraskov
and others C 03.06.2012 There are no dates for this show.
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Review of "Afisha":

The large royal throne, located in the center of the stage, seems to fall into two parts: an impostor has ventured to encroach on the place of the legitimate empress. And even though the strength of the rivals is clearly not equal in the Vakhtangov performance, any danger does not pass by the watchful eye of the smart and strong mistress of the Russian throne. That is why there is a hunt - a hunt for power and for those who claim this power. Deftly and cunningly setting the network, Empress Catherine the Great performed by Maria Aronova - central figure performance. How much is mixed in this firm ruler and passionate woman! Will and prudence, funny malice and regal coldness, but at the same time - hidden tenderness and desperate jealousy, female coquetry and charming cunning. The actress, who brilliantly owns comedic colors, in this role rises to tragic heights. The anxiety and pain of the empress for Russia is as sincere as the outbursts of her female anger and fear of defeat in love rivalry are genuine. True, Elizabeth (Anna Dubrovskaya), who claims to be Catherine on the royal throne and in the heart of her favorite, in this case can hardly be dangerous for her. A coquettishly languid and slightly capricious half-woman, half-child, Liza, although full of ambitious hopes, is still too naive and pure to enter into such an unequal struggle. Violent" royal games"She is clearly beyond her strength yet. The hunt is for a young creature, more like a cute fairy princess, heartlessly deceived by an experienced and grasping courtier - Count Orlov (Vladimir Vdovichenkov), sent by the Empress. But when Catherine herself sees this unfortunate adventurer defeated, she feels more pity for her than hatred, although she quickly suppresses the uninvited human weakness. The royal throne remains indivisible, but the heart of the great empress. And behind this eternal struggle, which is happening in the soul of the heroine Aronova, I want to follow inseparably

Marina Gaevskaya

The performance includes:

Historical melodrama
Duration: 3 hours 15 minutes with one intermission

As you know, historical melodramas in our country at all times enjoyed simply incredible popularity. After all, many Russian viewers are actively interested in national and world history. Therefore, it would be interesting for them to see famous figures of the past on theater stage or to the movies. And, since in Russia they have always loved beautiful romantic love stories, then the genre of melodrama quite naturally became popular and loved. Therefore, one should not be surprised that many famous theater and film directors often turn to historical melodrama in our country, creating their own unique masterpieces.

And among Russian viewers are in demand tickets to the performance "Royal Hunt" and other performances of similar subjects. By the way, this production is based on a play by the famous domestic playwright Leonid Zorin, the author of such well-known works as Pokrovsky Gates and Warsaw Melody. Plays this author repeatedly staged in the theater and cinema. And domestic viewers fell in love with them for their amazing sincerity and brightness of images. All this can be fully attributed to the play "The Royal Hunt", which is a historical melodrama in genre. It is noteworthy that this work based on real events. And it is told here how everyone who tries will be able to see buy tickets for the performance "Royal Hunt", about how Empress Catherine II sends Alexei Orlov to Venice in order to seduce Elizabeth, an impostor who claimed the Russian throne. But nothing human turned out to be alien to Orlov. And therefore, Alexei faces a rather difficult dilemma: to fulfill the public duty or to indulge in suddenly surging bright feelings.

So what ended so fascinating romantic story? But only those who make it on time will be able to find out about this. order tickets for the performance "Royal Hunt" to the Moscow State academic theater named after Vakhtangov. After all, it is here that this very bright and interesting historical production is currently taking place, the premiere of which took place on November 3, 2002. By the way, all the spectators who attend this performance will not only appreciate the power and scale of this historical performance, but will also enjoy the beautiful acting Maria Aronova and Vladimir Vdovichenkov.