Pieces for private projects
Plays for entreprise and private theaters should not differ in their artistic merit from plays played in repertory and any other theaters. However, the specifics of their rental requires that they also meet some wishes. technical order: limited number of characters, convenience and portability of scenery, appeal to a wide range of viewers (usually a comedy or lyrical drama). Below is a list of plays that, in the author's opinion, are most suitable for performance in private projects. Annotations of these plays are also given. By clicking on the name of the play, you can see its full text on the Internet.
Two characters
Modern commedia dell'arte in the genre of a merry farce. Two clowns and a clown perform a play that is born right before the eyes of the public.Pantomime, acrobatics, circus tricks, music, singing, dance, words merge into a single action.Comedy implies the ability of actors to improvise, buffoonery and live contact with the public.2 men, 1 woman, interior.
. This work combines dramatic, melodramatic and comedic motifs.
The bride and groom, successful business people, are compelled by the will of circumstances to offer a random comer - no longer a young man of strange behavior - to be a witness at their wedding. To make fun of the man and have fun at the same time, a young couple asks him to talk about the women he loved. The result of the entertainment is quite unexpected. Relations between all three become strained. This meeting decisively changes the fate of each of the heroes. Purity of soul, intellect, sensitivity, the ability to deep feelings triumph over rationalism and dry practicality. 2 men, 1 woman.
Three friends - single women of the "golden age" - decide to change their fate and find their life partners. This warm comedy convinces the viewer that the years are not an obstacle to the search for love and happiness. 3 age female roles. Interior.
.There are 3 characters in the play: a man, a woman and ... a dog (which should be played by a child or an actress).
A lonely man, a railroad worker by profession, finds a puppy, and very quickly this little faithful dog becomes his only joy and consolation. She responds to this care with selfless love and fidelity.
There comes a day when Mikhail has to make a choice: either quit his job or get rid of the dog. After painful hesitation, Michael decides to kill his friend. A woman is engaged in the killing of animals at the veterinary station. She is trying to save the dog, and with it, the soul of its owner. The clash of two truths of the characters, their dissimilar views on the true meaning of life creates a spring of conflict. The character of a woman - prickly and at times aggressive, but disinterested, ready to love and help, gave the name to the play. The play has been translated into English and staged in New York.
Director Howard Fishman: The American Theater Company is proud to present itself in New York with Valentin Krasnogorov's The Dog, the first production of this unique and challenging play on the American stage.
What I admire most about her is her nobility of spirit, and the heart that pulsates so vulnerable in her. Without a doubt, this is a difficult piece - prickly and subtle, frightening and ambiguous. But she is courageous enough to admit it all and bring it to the stage, where we can all get to know the sides of ourselves that we try so hard to hide."
. An evening of three one-act comedies different genre, paradoxically interpreting the problems of modern marriage. These theatrical short stories can be presented both separately and together. 1. " " . The wife stubbornly challenges her husband to a frank conversation. 2 male roles, 1 female. Interior.2.« ». " ". An ironic presentation of a version of the ideal family, consisting of a classic triangle. 2 female roles.
. (see above)
4 characters
. An exploration of modern marriage in the form of a brilliant comedy, bittersweet and very funny. Critics of Poland, Bulgaria and the Czech Republic noted " deep meaning and the wit of this cheerful, but wise and cautionary play", its "splendid construction and sparkling dialogue". A. Shirvindt concluded the preface to this play, published in Modern Dramaturgy, with these words: "If you are not afraid of a mirror, hurry into it see. In Bulgaria, the performance based on this play received the prize “ ». " Plot: A husband and wife invite two of their friends (a man and a woman) to a party. All four are interconnected by complex relationships, and each is waiting for the decision of his fate: today or never. 2 men and 2 women. Interior.
By the beginning of the performance based on the classical play of the 18th century, the performer of one of the main roles is not in the theater. He is urgently replaced by another actor who does not know the role, which leads to numerous tragicomic situations. They are complicated by the difficult personal relationships of the participants in the performance. Love, hate, envy, jealousy, flirting bring additional colors to the comic plot. Each participant in the performance simultaneously plays both the character and the actor who performs it. 1 female, 3 male roles.
. (see above)
. Strange, funny and dark, late night rehearsal unusual presentation with an unexpected twist. 2 male roles, 2 female roles, interior.
. An evening of three one-act comedies of different genres, paradoxically interpreting the problems of modern marriage. These theatrical short stories can be presented both separately and together. 1. " " . The wife stubbornly challenges her husband to a frank conversation. 2 male roles, 1 female. Interior.2.« ». Husband is looking for the best way parting with his wife. 2 male roles, 1 female. Interior " ". An ironic presentation of a version of the ideal family, consisting of a classic triangle. 2 female roles.
5 characters
. Comedy. A man suffering from memory loss comes to the doctor's office asking for help. The doctor tries to find out the symptoms and causes of the disease, but to no avail: the patient's answers are so contradictory that it is impossible to get something worthwhile from him. Fortunately, it is possible to call the patient's wife. She answers all questions clearly and confidently, but from her statements it follows that the doctor also suffers from memory loss. The situation becomes even more confusing when another woman unexpectedly arrives and also claims that she is the wife of the sick person. The situation becomes completely absurd. The Doctor goes almost insane. This dynamic and funny comedy develops rapidly and lively, ending with an unexpected denouement. 3 men, 2 women. Interior.
6 characters
. Farcical sitcom in the style of the French la piece bien fatale “a well-done play.” Intricate adultery situations are intertwined with the passionate desire of the characters to make a career. The play is a great success. 3 men, 3 women, interior.
An excerpt from a review of the performance: "This is a wonderful gift to the audience - a balm of humor, smiles, laughter, an excellent remedy for bad mood, blues, pessimism."
(THIS WEAK GENTLE SEX. ) . An evening of two one-act comedies with music and dancing. These very dynamic farces take us back to the times of Lesage and Rabelais. The play has not left the theater repertoire for many years in a row. The music for the play was written by Victor Pleshak.
Plot: 1. "Little Night Serenade". The old doctor's wife falls in love with a young man. She finds a way to deceive her strict husband. 2. "Silent". The husband invites a doctor to cure his young and obedient wife of dumbness. In vain does the doctor try to dissuade her husband from this intention. In the end, the doctor returns the speech to his wife, and she begins to talk incessantly until she drives her husband crazy.2 male roles, 3 female roles, interior .
From the theater review: The events unfolding on the stage, although they take place as if in the 17th century, are very attractive today with their daring humor, wit, and unpredictability of plot twists.
XXI
7 characters
The characters of this paradoxical comedy - women who do not know each other, different in age and dissimilar in character, by chance find themselves in one place. In their conversations, disputes, conflicts, the influence of our critical era on the fates, views and moral values of the heroines of the play becomes obvious. 6 female, 1 male role. Interior.
"Black comedy. The theater has just played the long-awaited premiere - Shakespeare's "Othello". Actors - performers of the main roles remain after the performance in order to celebrate this event in a friendly circle. Unfortunately, the holiday is overshadowed by the mysterious death of one of the characters, and there is a suspicion that one of the participants in the performance may be involved in this. Now gloomy, now cheerful humor, detective intrigue, sharp turns plot and an unexpected ending riveted the viewer's attention until the very last line. 4 male roles, 3 female.
.Comedy with elements of the grotesque. Her characters different ages and character hope to find their personal happiness in a successful marriage, but the realities of a hasty life of business and practical XXI centuries make them say goodbye to the ideals of the past. As a result, they find something completely different from what they expected. The driving force behind the action is the central heroine, an energetic middle-aged business woman. Funny and, at times, sad, this by no means everyday intellectual comedy provides excellent material for performers of all roles. 2 men, 5 (3) women (three roles out of five can be played by one actress).
.This play is a 2017 “remake” of the comedy with the same name, first staged in the 1980s in Leningrad, where it ran for 400 performances, then in 40 more theaters in Russia, as well as in Poland, the Czech Republic and Germany. At the festival in the Czech Republic, the play received three prizes, including the "Prize for the best dramaturgy” and “Audience Prize”. 4 male roles, 3 female roles, interior.
. Synthesis of melodrama and ironic paradoxical comedy. The play develops two lines of action. chief actor one of them is a director looking for a way out of creative crisis and recruiting actresses in a strange way for his new play. The lead character in another line of action is a well-known artist going through her own last love. The heroes of the play are in that period of life when it is time to take stock. Despite the sad ending, the play is funny. Lively dialogue, unusual construction and variety of colors make this comedy very theatrical. It contains a dozen "solo" roles for actresses of all ages and roles. 2 male roles, 10 female roles, interior.
The main characters of the play (2 men and 1 woman) are approximately 55-60 years old, female characters are 25 to 55 years old. If necessary, female roles can be played by fewer actresses.
Translation from French of three very unusual one-act comedies with elements of the grotesque and absurd.4-13 characters.
w_s /Contacts :
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email: valentine. krasnogorov @ gmail . com
Play
Alexander Volodin, 1958
About what: Once in Leningrad on the occasion of a business trip, Ilyin suddenly decides to go into the apartment where, seventeen years ago, leaving for the front, he left his beloved girl, and - lo and behold! - His Tamara still lives in a room above the pharmacy. The woman never married: her student nephew, to whom she replaces the mother, and his eccentric girlfriend - that's her whole family. Wandering through the fear of misunderstanding, insincerity, quarrels and reconciliation, two adults eventually realize that happiness is still possible - "if only there was no war!"
Why you should read: The meeting of Ilyin and Tamara, stretched over five evenings, is not only a story about the late, restless love of the master of the Red Triangle factory and the foreman Zavgar- Garage manager northern village of Ust-Omul, but the opportunity to bring real, not mythical Soviet people: smart and conscientious, with broken destinies.
Perhaps the most piercing of Volodin's dramas, this play is filled with sad humor and lofty lyrics. Her characters always keep something under wraps: under speech clichés — “my work is interesting, responsible, you feel people need”- there is a whole layer of hard questions driven deep inside, connected with eternal fear, in which a person is forced to live, as if a prisoner in a huge camp called “homeland”.
Next to the adult heroes, young lovers live and breathe: at first, Katya and Slava look “unafraid”, but they instinctively feel the fear that eats the souls of Tamara and Ilyin. Thus, uncertainty about the very possibility of happiness in the country of "victorious socialism" is gradually transmitted to the next generation.
staging
Big Theatre of Drama
Directed by Georgy Tovstonogov, 1959
Zinaida Sharko as Tamara and Yefim Kopelyan as Ilyin in the play Five Evenings. 1959 Bolshoi Drama Theater named after G. A. Tovstonogov One can imagine a little the shock that this performance was for the audience, thanks to the radio recording of 1959. The audience here reacts very violently - laughs, worries, calms down. Reviewers wrote about Tovsto-Nogov's production: “Today's time - the end of the 50s - revealed itself with amazing accuracy. Almost all the characters seemed to come onto the stage from the streets of Leningrad. They were dressed exactly as the spectators who looked at them dressed. The characters, riding out from the back of the stage on the partitioned platforms of the sparsely furnished rooms, played right under the noses of the first row. This required the accuracy of intonations, absolute pitch. A special chamber atmosphere was also created by the voice of Tovstonogov himself, who delivered remarks (it is a pity that in the radio performance the text from the author is not read by him).
internal conflict performance there was a contradiction between the imposed Soviet stereotypes and the natural human nature. Tamara, performed by Zinaida Sharko, seemed to be peeking out from behind the mask of a Soviet social activist before throwing it off and becoming herself. From the radio recording, it is clear with what inner strength and amazing wealth of nuances Charcot played her Tamara - touching, tender, unprotected, sacrificial. Ilyin (played by Efim Kopelyan), who spent 17 years somewhere in the North, was internally much freer from the very beginning, but he did not immediately manage to tell his beloved woman the truth, he pretended to be the chief engineer. In the radio performance in Kopelyan’s performance today, one hears a lot of theatricality, almost pathos, but he also has a lot of pauses, silence - then you understand that the most important thing happens to his hero precisely at these moments.
"In Search of Joy"
Play
Viktor Rozov, 1957
About what: The Moscow apartment of Klavdia Vasilievna Savina is crowded and crowded: four of her grown children live here and there is furniture that Lenochka, the wife of Fedya's eldest son, once a talented young scientist, now a successful careerist "from science," constantly acquires. ". Covered in rags and newspapers in anticipation of an imminent move to new apartment newlyweds, wardrobes, pot-bellied cupboards, couches and chairs become a bone of contention in the family: the mother calls her eldest son a “little tradesman”, and his younger brother, high school student Oleg, cuts "Lenochkin" furniture with a saber of his dead father - a war hero. Attempts to explain only worsen the situation, and as a result, Fedor and his wife leave their home, the remaining children assure Claudia Vasilyevna that they have chosen a different life path: "Don't be afraid for us, mom!"
Why you should read: This two-act comedy was at first perceived as a "trifle" by Viktor Rozov: by that time the playwright was already known as the scriptwriter of Mikhail Kalatozov's legendary film The Cranes Are Flying.
Indeed, touching, romantic, irreconcilable to dishonesty, acquisitiveness, the younger children of Claudia Vasilievna Kolya, Tatiana and Oleg, as well as their friends and loved ones, made up a strong group of “correct Soviet youth”, numerically superior to the circle represented in the play of “acquisitives, careerists and townspeople." The schematic nature of the confrontation between the world of consumption and the world of ideals was not particularly disguised by the author.
Outstanding was main character— 15-year-old dreamer and poet Oleg Savin: his energy, inner freedom and feeling dignity they got in touch with the hopes of a thaw, with dreams of a new generation of people who would reject all types of social slavery (this generation of uncompromising romantics began to be called “pink boys”).
staging
Central Children's Theater
Directed by Anatoly Efros, 1957
Margarita Kupriyanova as Lenochka and Gennady Pechnikov as Fyodor in the play In Search of Joy. 1957 RAMT The most famous scene of this play is the one in which Oleg Savin cuts furniture with his father's sword. So it was in the performance of the theater-studio "Sovremennik", released in 1957, and from the film by Anatoly Efros and Georgy Natanson "A Noisy Day" (1961), this is what first of all remained in the memory - maybe because in both productions Oleg played young and impulsive Oleg Tabakov. However, the first performance based on this play was released not at Sovremennik, but at the Central Children's Theater, and in it the famous episode with a saber and dead fish, a jar with which Lenochka threw out the window, was, although important, but still one of many.
The main thing in the performance of Anatoly Efros at the Central Children's Theater was the feeling of polyphony, continuity, fluidity of life. The director insisted on the significance of each voice of this populous story - and immediately led the viewer into a house crammed with furniture, built by the artist Mikhail Kurilko, where the exact details pointed to the life of a large friendly family. Not a denunciation of philistinism, but the opposition of the living and the dead, poetry and prose (as critics Vladimir Sappak and Vera Shitova pointed out) - this was the essence of Efros's view. Alive was not only Oleg performed by Konstantin Ustyugov - a gentle boy with a high, excited voice - but also the mother of Valentina Sperantova, who decided to have a serious conversation with her son and softened the forced harshness with her intonation. This Fedor of Gennady Pechnikov is very real, despite everything, he loves his pragmatic wife Lenochka very much, and another lover - Gennady Alexei Shmakov, and classmates who came to visit Oleg. All this is perfectly audible in the radio recording of the performance, made in 1957. Listen to how Oleg pronounces the key phrase of the play: "The main thing is that there is a lot in the head and in the soul." No didactics, quiet and enduring, rather for yourself.
"My poor Marat"
Play
Alexey Arbuzov, 1967
About what: Once upon a time there was Lika, she loved Marat, she was loved by him, and Leonidik also loved her; both guys went to war, both returned: Marat - Hero Soviet Union, and Leonidik without a hand, and Lika gave her hand and heart to "poor Leonidik." The second title of the work is “Do not be afraid to be happy”, in 1967 it was named the play of the year by London critics. This melodrama is a story of meetings and separations of three heroes growing up from episode to episode, who were once united by war and blockade in cold and hungry Leningrad, stretched over almost two decades.
Why you should read: Three lives, three fates of war-stung Soviet idealists who are trying to build a life according to the propaganda legend. Of all " Soviet fairy tales"Alexey Arbuzov, where the heroes were necessarily rewarded with love for their labor exploits," My poor Marat "is the saddest fairy tale.
Soviet myth“live for others” is justified for characters who are still teenagers by the losses and exploits of the war, and Leonid’s remark: “Never betray our winter of forty-second ... yes?” - becomes them life credo. However, “days pass”, and life “for others” and a professional career (Marat “builds bridges”) do not bring happiness. Lika manages medicine as an "unliberated head of the department", and Leonidik ennobles morals with collections of poems, published in a circulation of five thousand copies. Sacrifice turns into metaphysical longing. At the end of the play, 35-year-old Marat proclaims a change of milestones: “Hundreds of thousands died so that we would be unusual, obsessed, happy. And we - me, you, Leonidik? .. "
Strangled love here is equal to strangled individuality, and personal values are affirmed throughout the course of the play, which makes it a unique phenomenon in Soviet drama.
staging
Directed by Anatoly Efros, 1965
Olga Yakovleva as Lika and Lev Krugly as Leonidik in My Poor Marat. 1965 Alexander Gladshtein / RIA Novosti The reviewers called this performance a “stage study”, a “theatrical laboratory”, where the feelings of the characters of the play were studied. “On the stage, it is laboratory clean, precise and concentrated,” wrote critic Irina Uvarova. Artists Nikolai Sosunov and Valentina Lalevich created a backdrop for the performance: three characters looked at the audience seriously and a little sadly from it, looked as if they already knew how everything would end. In 1971, Efros filmed a television version of this production, with the same actors: Olga Yakov-leva - Lika, Alexander Zbruev - Marat and Lev Krugly - Leonidik. The theme of a scrupulous study of characters and feelings was further strengthened here: television made it possible to see the eyes of the actors, gave the effect of a spectator's presence in the close communication of these three.
One could say that Marat, Lika and Leonidik at Efros were obsessed with the idea of getting to the bottom of the truth. Not in a global sense - they wanted to hear and understand each other as accurately as possible. This was especially noticeable in Lika-Yakovleva. The actress seemed to have two game plans: the first - where her heroine looked soft, light, childish, and the second - appeared, as soon as Lika's interlocutor turned away: at that moment, a serious, attentive, studying look of a mature woman glared at him. “All real life is a Meeting,” wrote the philosopher Martin Buber in I and You. According to him, the main word in life - "You" - can be said to a person only with his whole being, any other attitude turns him into an object, from "You" into "It". Throughout the performance of Efros, these three spoke to the other "You" with all their being, most of all appreciating each other's unique personality. This was the high tension of their relationship, which even today is impossible not to be carried away and to which one cannot but sympathize.
"Duck Hunt"
Play
Alexander Vampilov, 1967
About what: Waking up in a typical Soviet apartment on a heavy hangover morning, the hero receives a mourning wreath as a gift from friends and colleagues. Trying to unravel the meaning of the prank, Viktor Zilov restores the pictures in his memory last month: a housewarming party, his wife leaving, a scandal at work and, finally, yesterday's drinking at the Forget-me-not cafe, where he insulted his young mistress, his boss, colleagues and fought with his best friend, the waiter Dima. Deciding to really settle scores with a disgusted life, the hero calls his acquaintances, inviting them to his own wake, but soon changes his mind and goes with Dima to the village - on a duck hunt, which he has been dreaming about all this time.
Why you should read: Victor Zilov, combining the features of a notorious scoundrel and an infinitely attractive man, may seem to someone to be the Soviet reincarnation of Lermontov's Pechorin: "a portrait made up of the vices of our entire generation, in their full development." Appeared at the beginning of the era of stagnation, a smart, thoroughbred and eternally drunk ITEA member engineers- engineering and technical worker. with energy worthy of a better application, he consistently rid himself of family, work, love and friendship ties. The final refusal of Zilov from self-destruction had for the Soviet drama symbolic meaning: this hero spawned a galaxy of imitators - extra people: drunkards who were both ashamed and disgusted to join the Soviet society - drunkenness in the drama was perceived as a form of social protest.
The creator of Zilov Alexander Vampilov drowned in Baikal in August 1972 - in the prime of his creative powers, leaving the world one not too weighty volume of dramaturgy and prose; Duck Hunt, which has become a world classic today, with difficulty overcoming the censorship ban, broke onto the Soviet stage soon after the death of the author. However, half a century later, when there was nothing left of the Soviet, the play unexpectedly turned into an existential drama of a man, before whom the emptiness of the arranged, mature life, but in a dream about a hunting trip, to where - “Do you know how quiet it is? You're not there, do you understand? No! You have not yet been born, ”a cry was heard about a forever lost paradise.
staging
Gorky Moscow Art Theater
Directed by Oleg Efremov, 1978
A scene from the play "Duck Hunt" at the Gorky Moscow Art Theater. 1979 Vasily Egorov / TASS The best play by Alexander Vampilov is still considered unsolved. Vitaly Melnikov's film "Vacation in September" with Oleg Dal in the role of Zilov came closest to her interpretation. The performance, staged at the Moscow Art Theater by Oleg Efremov, has not been preserved - even in fragments. At the same time, he accurately expressed the time - the most hopeless phase of stagnation.
The artist David Borovsky came up with the following image for the performance: over the stage, like a cloud, a huge plastic bag hovered, in which there were felled pine trees. “The motif of the preserved taiga,” Borovsky told critic Rimma Krechetova. And further: “The floor was covered with tarpaulin: in those places they walk in tarpaulin and in rubber. He scattered pine needles over the tarpaulin. You know, like from the New Year tree on the parquet. Or after funeral wreaths…”
Zilov was played by Efremov. He was already fifty - and the longing of his hero was not a midlife crisis, but a summing up. Anatoly Efros admired his game. “Efremov fearlessly plays Zilov to the limit,” he wrote in the book “Continuation of the theatrical story”. - He turns it inside out in front of us with all the giblets. Ruthlessly. Playing in the traditions of the great theatrical school, he does not just denounce his hero. He plays a person who is generally not bad, still able to understand that he is lost, but already unable to get out.
The one who was deprived of reflection was the waiter Dima, performed by Aleksey Petrenko, another the most important hero performance. A huge man, absolutely calm - with the calmness of a killer, he hung over the rest of the characters like a cloud. Of course, he has not yet killed anyone - except for animals on the hunt, which he shot without a miss, but he could well knock out a person (after looking around to see if anyone sees). Dima, more than Zilov, was the discovery of this performance: a little time will pass, and such people will become the new masters of life.
"Three Girls in Blue"
Play
Lyudmila Petrushevskaya, 1981
About what: Under one leaky roof, three mothers - Ira, Svetlana and Tatyana - while away the rainy summer with their always fighting boys. The disorder of country life forces women to swear day and night on the basis of everyday life. A wealthy boyfriend who has appeared takes Ira to another world, to the sea and the sun, she leaves her sick son in the arms of her weak mother. However, heaven turns into hell, and now the woman is ready to crawl on her knees in front of the airport duty officer in order to return to the child left alone.
Why you should read: The play still amazes contemporaries of Three Girls by how accurately it captures the era of “late stagnation”: the circle of domestic concerns of a Soviet person, his character and type of relationship between people. However, in addition to external photographic accuracy here the inner essence of the so-called scoop is also subtly touched upon.
Leading a dialogue with Chekhov's "Three Sisters", Petrushevskaya's play initially presents her "girls" as three variations on the theme of Chekhov's Natasha. Like the petty-bourgeois Natasha at Chekhov’s, Ira, Svetlana and Tatyana at Petrushevskaya’s are constantly caring for their children and waging war for the dry rooms of a dilapidated dacha near Moscow. However, children, for the sake of which mothers quarrel, in fact, are not needed by anyone. The play is permeated by the weak voice of the sick son of Ira Pavlik; the boy's world is full fabulous images, in a bizarre form reflecting the realities of a life that frightens him: “And when I was sleeping, the moon flew to me on wings,” - no one hears and understands the child in this play. The “moment of truth” is also connected with the son - when, realizing that he could lose him, from the “typical Soviet man Ira turns into a person capable of “thinking and suffering”, from Chekhov’s Natasha into Chekhov’s Irina, ready to sacrifice something for others.
staging
Theater named after Lenin Komsomol
Directed by Mark Zakharov, 1985
Tatyana Peltzer and Inna Churikova in the play "Three Girls in Blue". 1986 Mikhail Strokov / TASS This play was written by Lyudmila Petrushevskaya by order of the chief director of the Lenin Komsomol Theater Mark Zakharov: he needed roles for Tatiana Peltzer and Inna Churikova. Censorship did not miss the performance for four years - the premiere took place only in 1985; On June 5 and 6, 1988, the performance was filmed for television. This record still produces very strong impression. Stage designer Oleg Sheintsis blocked the stage with a translucent wall, behind which silhouettes of branches are visible; in the foreground is a table, on it is a bouquet of dried flowers, and in a tin basin, hoisted on a stool, there is an endless washing; squabbles were arranged around, flirted, confessed. Each was ready to get into the life of another, and not just get in, but thoroughly trample there. But this is only a superficial participation: in fact, everyone did not care deeply about each other. The old woman Fedorovna (Peltzer) mumbled her own, indifferent to the fact that a sick child lies behind the wall. Instantly inflamed in a fit of hatred for the intellectual Irina and her son Svetlana (actress Lyudmila Porgina): “He reads! Read up!” And Irina herself - Inna Churikova looked at everything with huge eyes and was silent as long as she had the strength.
A recognized master of stage effects, Zakharov built several reference points, adjusted like a ballet. One of them is when Nikolai's summer boyfriend kisses Irina, and out of surprise, she does an almost clown somersault. Churikova at that moment almost falls off her chair, leans on Nikolai's shoulder, immediately bounces off him sharply and, throwing her knees high, makes her way to the door to see if her son saw the kiss.
Another scene is the tragic culmination of the play: Irina crawls on her knees behind the airport employees, begging to be put on the plane (the child was left alone at home in a locked apartment), and hoarsely, hoarsely, does not even scream, but growls: “I may not be in time!” In the book "Stories from my own life» Lyudmila Petrushevskaya recalls how once at a performance at that moment a young spectator jumped up from her chair and began to tear her hair out. It's really scary to watch.
A. N. OSTROVSKII "HEART IS NOT A STONE"
EXTRACT FROM THE PLAY with text cuts, the characters of Ogurevna and Khalymov are reduced.
K a r k u n o v.
Vera Phillippovn.
Konstantin.
Erast at the desk, there is a candle on the desk.
Erast. But it seems that Konstantin told the truth: the owner walks around angry, does not look at the world; everyone grumbles: "We must finish off the factory, there is no profit ..." Don't praise the matter! You will go wandering around Moscow, cut the pavement. There is no money in store for a rainy day ... But how can you save it on such a salary? As soon as you walk for three or four months, or even all six months without a place, you will find out where the crayfish hibernate. You will drag yourself into debt, you will unwind everything in a dress ... after all, hunger is not an aunt, perhaps you will get into such a rank that you won’t get scratched after. How few of them walk around the city in a summer dress in winter, dance for a penny in the cold and stretch out their hands. Oh you life! When you think about it, goosebumps crawl up your back. It’s not like that... you’ll go out on robbery here... It’s for sure that our hostess is a rare woman, quite some kind of special one, and what a wildebeest thing I am now, it’s a little better than killing a person. And when you think about your own life, it turns out that your own shirt is closer to your body... ………… (Glancing at the wall clock.) It's still twenty minutes to ten. Go get a book. (Exits with a candle.)
It's dark in the room, Moonlight. Vera Filippovna enters imperceptibly (appearance 2 - abbreviated). Olga appears. Vera Filippovna hides.
E r a s t. Why are you? Who asked you?
Olga. And then, to tell you straight in the eye that you are an unscrupulous person.
E r a s t. So, I think you would have managed to do this later, you have nowhere to hurry.
Olga. Yes, the soul does not tolerate, you hateful person. That's how you are for my love, that's how! Why, you can’t joke with me ... I’ll you, my dear, wait! ..
E r a s t. Yes, you be quiet! You're not in your apartment - rowdy something! You are in someone else's house. (Looks into the corridor.)
Olga. Yes to me! I don't even want to know!
Erast. No, that's what: you'd better leave it until tomorrow, we'll talk to you later.
Olga. I can't, I can't; my soul boils, I can't.
E r a s t. Well, speak, but hurry! What happened to you there?
Olga. I only wonder how you have the conscience to look directly at me. Ah, I would have killed you.
E r a s t. Yes, enough of your ahs! You talk something!
Olga. Did Apollinaria Panfilovna see you and your aunt together? Speak! Did you see?
E r a s t. Well, so what's the trouble? I saw it so I saw it
Olga. And after that you can talk to me indifferently; and you have nothing to be ashamed of? So it turns out that your eyes are shameless.
Erast. And if only, then go home. It was worth resorting because of such trifles.
OLGA (almost crying). Well, isn't that enough for you? few?
Erast. Of course, not enough, but what did you think!
Olga. Few! what do you want? Suffocate me, right?
Erast. If your stupidity makes you choke, then choke! I'll tell you more! Your aunt is coming to me here. Do you hear it?
Olga. Well, it won't happen like that; I won’t spare myself, and I won’t allow you to mock me like that.
E r and with t. Allow me.
Olga. And do not tell me, and do not torment me; otherwise I will do such deeds that you will not be shamed.
E r a s t. Wait, listen to me! Now your aunt will come here, and in ten minutes Potap Potapych will come here with your husband and cover her here.
Olga. I'm sorry, what? then you think of nonsense?
E r a s t. Well, it's none of your business.
Olga. Why, what is it for?
E r a s t. Therefore, it must be so.
Olga. Yes, dear, dear, tell me!
E r a s t. That's it, that's better; and then you make noise and threaten to no avail. (Looks at the door.) Do you want to live better - and dress, and all that?
Olga. How not to want! Is it bad business.
E r a s t. And your husband went bankrupt a long time ago, and there are a lot of debts. If his uncle does not leave him an inheritance, then he should sit in the pit, but where are you?
Olga. Don't leave me, Erast, you are the only hope.
Erast. Yes, I myself, not today or tomorrow, will have to drive dogs around Moscow. And when Potap Potapych finds his wife here, he will lead me out of the gate with a cudgel, and even she will not get the inheritance, but everything will be yours. So you see, I do not spare myself for you and your husband; and you're getting confused and interfering.
Olga. Did I know...
E r and with t. So know! Well, go, go!
Olga. But I thought you loved her.
Erast. How not to fall in love, but not such a woman. You won't get to her soon.
Olga. And would you mind driving up if possible?
E r a s t. Yes, of course, why yawn!
Olga. Oh you shameful! So I won't go, I won't go.
E r a s t. Who do you want to threaten? You'll make yourself worse. Yes, your husband will kill you to death if you interfere with us.
Olga. Yes, I would leave, but how can I leave you with her? Doubtful to me.
E rast. Jealousy. You judge your aunt by yourself! Don't hesitate. She is not like you. Well, hurry up, it's almost ten o'clock.
Olga. Well, look at me! And it seems ... then do not live in the world.
E r a s t. Let it be, go! Wait! Someone is coming. Here we got it right. Run to my room, take a candle. Shut up and sit there, don't breathe.
Olga leaves with a candle. Erast comes to the corridor door.
E r a s t (at the door). Vera Filippovna, is that you?
VERA PHILIPPOVNA (coming out from behind the partition). No, Erast, I've been here for a long time.
E r and with t (grasping his head). Everyone heard?
Vera Phillippovn. All.
Erast. So, now you know what kind of people we are?
Vera Phillippovn. I know, Erast.
Erast. There are no excuses, and the tongue will not rise to justify itself in front of you! why should I cry, ask for forgiveness, wallow at my feet? So I may be a lost person, but I will not humiliate myself, there is no meanness in me. The whole thing is obvious, it’s clear... there’s nothing to do here... You should only neglect us, spit and go away... and stay like that again tall woman like you were, don't mess with people like us.
Vera Phillippovn. So I'll do it. You accurately guessed my thoughts.
E r and with t. But let me! I am a small, insignificant person for you, so it’s all the same that a crawling worm; but do not refuse to do me the last favor. (Kneels down.) Say something, say something! Scold, forgive, curse; well, whatever you want, just say - it will be easier for me; if you leave in silence, I can't live. Don't kill with contempt, break your heart, scold and leave!..
Vera Phillippovn. Please. Get up. (Erast gets up).
You wanted to deceive me, but God had mercy on me, so I have nothing to complain about. I should be glad that God has not forgotten me. Even if they deceive me a hundred times, I will not stop loving people. Only one thing I will tell you: you need to love people, but you don’t need to enter into their affairs. In order to enter into the affairs of people, one must know them, and it is not given to me to know them. If I don’t know how to make out who is telling the truth and who is deceiving, then it’s better not to take it on. Who silently needs, who asks, who stretches out his hand - help everyone and pass by with a light heart. And if you start asking people about their needs, they will deceive you, willy-nilly, because everyone wants to justify themselves, to blame others or to fate, everyone wants to show themselves better, their sins, their guilt, no one to you will say. And you will guess that you are being deceived, and you will condemn the person, so what good is there, only one sin. And this is how we, stupid people, should live: love people, and do not know them, and do not judge. I did not take up my own business, my concern is poor, helpless people; and you will help yourself; look how cleverly you came up with everything. I don't need to see you or talk to you anymore. You ask forgiveness for your sin not from me, but from above, and if you need my forgiveness, then I forgive you. With God blessing! We are strangers now. (Goes to the door.)
Erast. Here, it seems, someone drove up to the gate, but now they won’t catch you.
Vera Phillippovn. You don't care about me, you think about yourself, I'm not afraid. What is a right person to be afraid of. (Exits.)
(…………..)
Enter Karkunov and Konstantin. Erast gets up and bows.
KARKUNOV (sitting down on a chair). Why can't I live, huh? What more life do you need? The clerks of the night do not sleep, they sit over books; but they don’t get drunk, they don’t act outrageously. (…)
And my nephew, I can't find words to boast about. I follow him like a stone wall! How does he take care of his uncle? He will come with his uncle to the tavern, he himself will get drunk before his uncle! Golden boy, golden! We go home at night, who is carrying whom - it is not known who is holding whom, you can’t make out. Embracing, we drive all the way until the janitors remove us from the droshky at the porch.
(Bows.) Thank you, my friends! You, Erast, will receive the payment tomorrow morning! (To Konstantin.) And you, without calculation, get out! And so that your spirit does not smell tomorrow ...
Erast silently bows.
K a r k u n o v (at the door). Wife, Vera Filippovna, come out! Nedet, stand on ceremony ... Welcome here, we honor you. Eh, the woman has broken down, become stubborn ... It can be seen that he should go himself, bow to her well! (He leaves, his laughter is heard; he appears from the door.) Shh ... hush! .. Found, found, found a find. I will not share with anyone! ur one! (He leaves and quickly returns, dragging Olga by the hand.) Here she is, here she is, the wife! C peers, then runs up to Konstantin and hits him on the shoulder.) Wife ... wife, but not mine, eccentric!
Konstantin. Just like that... Well, Olga!
K a r k u n o v. Ha, ha, ha! (Laughs hysterically.) Tomorrow, get you all out! everyone out! I command you to sweep it clean with a broom! Ha, ha, ha! (leaves)
Konstantin. Well, Olga...
Olga runs into the corridor.
Do not run away, the calculation will be with you. (To Erast.) And how shall we deal with you, how shall we reckon with you?
Erast (takes out a bill, tears it up, rolls it up in a ball and throws it away). Here are all your bills. Take your bill! We have nothing to count. There is no one to cry on, do not dig a hole for another ...
Olga runs.
Olga. The uncle has gone ill in the corridor... they say it's a stroke... he's dying...
Konstantin. Oh, dying? So that's another matter.
OLGA (looking into the corridor). Died.
Konstantin. Well, Olga, it would be worth killing you; And now I will bow at your feet. By your grace, my uncle dies without a will, and I am now the complete master of all this.
The theatrical kaleidoscope bridged the past and future of MTM
I know there will be a dance, I know the theater will bloom,
When Katya's artists are in Ufa, they are dear!
Atmosphere of the evening
Within the framework of the project “Retrospective for the anniversary of the MTM named after me” on January 28, 2016, a creative evening of funny performances by the Theater Miniatures Workshop (MTM), played by this theater over 10 years, was held.
When attending the evening, I was going to combine business with pleasure, private with public. I planned a visit to MTM from 10/26/2016 as a curator and invited law students from my sponsored groups: Yubd-11 (20 people) and Yubd-21 (15 people). Of these, 6 students confirmed their intention to come to the theater the day before. I arrived at the event on the PAZ bus route No. 262 10 minutes before the start. In a hurry, I forgot my camera and notebook at home, which made writing this review much more difficult. Dmitry Osipov (Ubd-21) was waiting for me on the porch of the 3rd building of the USATU, and Garifullina Elmira and Mazitova Alina (both from Yubd-11) were already inside on the landing of the third floor. They also wanted to visit, but could not, the students of Yubd-11 Ibragimova Elza - fell ill, Akbirova Albina - went to her parents in Kushnarenkovo, Zvers Elizaveta, Mingazova Elina - were late. My sister Anna also changed her mind about going to the performance at the last moment.
Entrance doors in the Third Corps of USATU are very "hospitable" - the closer is tight, like the spring of a locomotive spring. This is probably a test check - weak people they won't get into the USATU. The control on the watch is again formal, the grandmothers only limited themselves to the duty question: where are you going? And the answer: "to the theater." And in October, in connection with rumors about mass terrorist attacks being prepared in Kazan, everyone actually looked at their passports. At the wardrobe in front of the watch this time there was no MTM representative. This is a violation of tradition.
Upon entering auditorium the girl-volunteer gave incoming vouchers for charitable collection, the minimum for this evening was set at 100 rubles. The coupons were without indication of the date, the name of the event, and even the place. Therefore, it was important to immediately take the place you liked and not leave it before the start of the performance. MTM director Ekaterina Temnova - the famous Katya Slavovna, as a hostess, offered everyone to warm themselves with hot tea. On a separate table were plastic cups, an electric kettle, a saucer with lemon slices and a tray with cookies and sweets. There was a tea party before the show started. As an advertisement, programs from performances from the repertoire of MTM were laid out on neighboring tables. They could be taken for free.
The audience in the hall was represented mainly by middle-aged males, there were few students. This can be explained by the fact that the event took place during student holidays, frosty weather and the swine flu epidemic in Ufa. The hall was filled to 1/3 of the 263 seats, that is, compared to the October performance (09/29/15 "My Bradbury") and the November performance (11/26/2015 "Clean and Simple") noticeably less. From famous people there was a journalist in the hall Belsky expanses» Anatoly Lvovich Chechukha with his wife Elena Ilna, a longtime fan, and earlier an actress of MTM. The spectator contingent reinforced the vector of nostalgia at the event.
Organizer before last moment kept secret what exactly will be shown on stage that evening. On the page in social network"VK" On January 17, a survey was conducted: "What funny performances have you seen at MTM?" Those who responded stated:
The pages not named by the guests, but then announced by the moderator, were: "All mice love cheese" by Gyula Urban and "Internet noodles". Uncertainty about what exactly will be shown on the MTM stage on January 28 became the reason why I did not carry out intensive campaigning among my friends to come to the performance that evening. It is not very convenient to call on "it is not known what will happen."
A feature of MTM directing is that almost all performances there have elements of comedy. Even in Pushkin's tragedies "Mozart and Salieri" and " Miserly knight"You can laugh heartily. So it's not easy to draw a clear line between "funny" and "unfunny" performances.
I yearned for my favorite theater in the two months since 11/26/2015, as various circumstances prevented me from visiting it in December and January. Therefore, any performance performed by MTM would be a pleasure, but I most of all wanted to see "Cowboy Story". Firstly, this performance has not been played in Ufa for a long time (almost 5 years since February 24, 2011); secondly, he is really the funniest, for my taste, from the MTM repertoire; thirdly, in this performance there are beautiful costumes; fourthly, a simple but interesting plot will be understandable to a wide range of students.
My students immediately went to the front rows of the hall and sat down there, and I undressed and folded my outer clothes in the corner of the last row. Despite the cold outside, the hall was very warm. I invited the students to drink tea, but they refused. Then I treated them to chocolate, they happily accepted and rustled with candy wrappers. After making sure that everyone who wanted to gather, I turned off my cell phone to isolate myself from the outside world and enjoy what was happening on stage. The students switched their phones to silent mode. For a change, the students sat in the left (when viewed from the stage) part of the hall. Immediately at the central aisle Dmitry sat down, then two chairs were left under the jackets, then Alina and Elmira sat down. I sat in the row ahead, leaving two seats free from the aisle. I advised mine: “Sit closer to the center, today they will not throw bottles. And Adela Kuramshina didn’t come because she was afraid that they would throw bottles into the auditorium again? Her friends agreed, and everyone was amused.
In the central aisle, the organizers set up a tripod for filming, so there is hope that someone has a video or at least professional pictures of this wonderful evening.
Performers
On stage were involved: "veterans": Innokenty Shulga, Marat Rashitovich Sarvarov, Pavel Panov, Ivan Tsekalo, Regina Irekovna Utyasheva, Ulyana Renatovna Utyasheva, Kristina Shulga. "Young Veterans": Ildar Shakirov, Sergei Kondratiev. "New Shift": Elina Gabidullina, Lilya Mukhametshina; "assistants": Kamil Kabirov, Veronika Muslyukova, Maria Dubinskaya.
In the hall of the veteran artists, only Dina Kurbangaleeva was seen. In contrast to the October creative evening, there was a noticeable absence in the hall of “veterans” and “legends” of MTM, such as: Galya, Salavat, Ivan Mityakin, Aigul Sultanova, Maria Gadzhieva, Vladimir Bortsov.
Director's speech
According to the tradition of MTM, the evening began with an introductory speech by director Ekaterina Temnova. She announced general program evenings: first they will show excerpts from the performances, and then they will play in full “Tales of Lena and Seryozha”. She asked the audience: do you need a break? Like, tea is not beer - you won’t be asked back quickly. And if they gave beer here, then there would be more spectators. Most of the audience shouted out that there was no need for a break between the potpourri and the performance. Katya Slavovna said that she does not like to stage comedies, since in comedy the main load falls on the skill of the actor, and little depends on the director. With this phrase, she was asking for a compliment.
She told how the MTM artists performed in front of the sailors of the Krasnodar dredge-dredge, which deepened the fairway along the river bed. They played the play "Cowboy Story" in front of one spectator. The director has never seen another viewer with such a sense of humor in her life. The riverman began to laugh, fell off his chair, asked to stop so that he could catch his breath.
Ekaterina Matsievich, now living in Brussels, the capital of Europe, asked to stage "Tales of Lena and Seryozha". This performance became the leader in terms of the number of awards received by MTM at various competitions. So, for the award received for a diploma in Kazan, the director bought a jacket.
The director asked to open the curtain in advance. After it was opened, a large white screen was found on the back, onto which an image from a digital projector was projected. She asked for bottles. One of the artists from behind the curtain laid out four empty plastic bottles: one completely transparent and three brown. My students got frightened and whispered indignantly that "you promised that this time they would not throw bottles into the hall." I reassured them, saying that this time the bottles would be empty, which means they would be light, and they would throw them at the net, not at people. Katya Slavovna took out 100 rubles from her pocket as an incentive for the audience to recklessly catch the bottles, and not dodge them. The bill was invested in theater program performance MTM, rolled up into a tube and pushed into the neck of a brown bottle. Programs without money were shoved into the rest of the bottles. Said: "Whoever catches the lucky bottle will justify admission ticket. It’s a pity that not all bottles are brown, now they won’t want to catch the white one.”
Katya Slavovna asked the audience to move closer to the center, so that they could better see what was happening on the stage, and not on the side behind the scenes. I moved to the central aisle, which was not hidden from the keen eye of the Hostess of the evening. She noticed: Zhenya, this does not concern you, but the girls in the seventh row.
Excerpts from performances - theatrical kaleidoscope
Actually the review presented below will differ from classical theatrical reviews. Since, on the one hand, during the evening they showed not one performance, but several. Also, the key point of the analysis will be the vector named by the organizers - a retrospective: nostalgic memories of the youth of "veterans" and those who are now far away. Not named, but guessed by hints, the vector is a farewell to the repertory theater project. Katya Slavovna plans to implement other creative projects not recovery comedy performances previous years. After the end of the evening, a sad aftertaste of the “Olympic bear” remained in my feelings.
0)"Tales of Kings"
Videos from Irish dance from "Tales of Kings". The girls dance and gradually, losing their rhythm, drop out of the line. The longest in the ranks is a girl who looks like Galina Chepurnova. The plot for a narrow circle of "friends". The play played only the first two seasons. It was 8 years ago. The work itself is also not known to the public. The rehearsal excerpt is very short, the director's commentary is cryptic. We remind you of the joke in the Goblin's parody voice-over of the film "The Lord of the Rings": everyone who knew anything about it was soaked a long time ago.
1) " Internet noodles» –
The play "Internet Noodles", consisting of 20 short stories, was presented this time with the following episodes:
a) First, they performed a dance, probably the ending of the novel "Death in the Chat" - the zombie movement. But this time, the plot itself was not disclosed, so even the sophisticated viewer, the meaning of this episode remained a mystery.
b) Then a video presentation “Retrospective of the Event of 2010” was shown on the screen, that year there was a premiere of the play “Internet Noodles”, created by Katya Slavovna based on the wishes of the audience from the novels of social networks. But there are no Ufa events, sorry.
The time on my watch is 20.10 My student Alina whispers from behind: “Elina is driving. What should I give her?" I answered her: “Let her wait at the door for intermission.” Alina: “But the director said that there would be no break?” I reassured him: “Hopefully, it will happen all of a sudden. They always took breaks before." But the intermission was not announced, Ellina, who had made her way, was put out the door, observing the rule “not to let in latecomers”.
c) The short story "Lighthouse and Aircraft Carrier" is the "accordion" of Internet networks. The roles were played by: Americans - Innokenty Shulga and Timur Sarvarov, Spaniards - Ildar Shakirov and Pavel Panov. It is played weakly, crumpled: cut out intermediate episodes do not allow to develop incrementally. Loss of tension. Perhaps the director initially got a bad version of the text. In principle, you can make candy out of this novel. The last time on April 11, 2013, I saw Vladimir Bortsov in the role of US Admiral. He went out in a sea cap. That game was more reliable and more massive: 10 people, not 4 as it is now. The number of people emphasized the inequality of the parties, but this time it was even.
d) "Letters from children to God" with the tossing of plastic bags (do bags represent souls?): Lord, give me magic wand(Regina) How do you distinguish between male and female souls? (Pasha), are candles in church your business? (Kristina), Now I know what love is, love is a naked woman (Timur), etc. Without a clear announcement of the theme or title of the short story, those who have not watched the play in its entirety, almost nothing is clear. Actors played as if by inertia.
e) "History of the Runet from 1989 to 1912" - a "mirror of civilization". The Internet and technology are developing rapidly, so it looked good at the premiere, but now two things hurt the eye: 1) it is required to continue the fact series until 2016 and 2) raise the level of presentation design from “junior school age”at least to the “graduate of the 11th grade”. Musical background the imperial march of George Lucas at the time of the promotion of the premiere of the next episode " Star Wars' in its current form is unreasonably pretentious.
This time they did not show the novels “A Whole Life in 100 Words: The Cradle. Diaper. Crying”, “What they really wanted to say”, “Letters from the hospice”.
2) " cowboy story» –
From one of the most long performances MTM left 5 episodes this time.
a) the dialogue of the Horse and the cowboy: The horse scares Tom that he will have trouble at home and that he needs to hurry. At first, the cowboy is frightened, but then he remembers that his name is not Tom, but Ronnie, that he never had a house and calms down. I am glad that Regina over the years has managed to remain the same frisky "horse". Since “Cowboy Story” was the first performance I saw at MTM, and Regina played the main role in it, she remained with the stage name “Horse” in the circle of my acquaintances. And behind the back of Innokenty Shulga, Ivan Mityakin is invisibly guessed, who played Ronnie in the 2008-2009 season.
b) dance 4 couples under an unfamiliar English song(V original version this song didn't exist. They dance with soul, but the style of music does not really fit into a parody western. It's not country or folk.
c) Ronnie the cowboy's dream of riding a white horse offends his horse. She begins to be jealous of him for the mythical blonde. Ronnie is trying to make up for his unwitting slip of the tongue: do you want me to take you to the hairdresser? Will you forgive me if I show you gold?
d) Ronnie and the horse are discussing Uncle Sam's treasure (Uncle Sam's daughter), with whom Ronnie fell in love with the first shot. The image of Ekaterina Danilova pops up in memory. The horse discovers on the ground the footprints of the horses of the scary Pew Whiskey, Paul Banks, Bill Eyes gang leading towards Uncle Sam's ranch. After that, I expected Ivan Tsekalo to appear on stage with a colt in the role of a cunning ataman of bandits who could even read brochures with train schedules. The images of the predecessors of the ataman artists also surfaced in my memory: Roman Surkov, Salavat Gibadullin, Rishat Khasanov. But this did not happen - the director-Scheherazade has already moved to another page of the theatrical kaleidoscope.
e) country dance of six couples in costumes. The artists make a signature detail of the dance: the young men form a circle with their backs to the center, hands clasped, and the girls sit between them on strong male hands and swing their legs wide apart. dance art competes with acrobatics.
Roles: Ronnie - Innokenty Shulga, Horse - Regina Utyasheva; all other artists are busy in extras. Of particular note is the frenzy of the "neophyte" Elina Gabidullina. My students noted that this is a more worthy candidate for the role of Volkova in the play "Clean and Simple" than Ulyana Utyasheva.
I am glad that in the dressing room they kept intact not only plaid skirts and pantaloons, but even green, fringed plastic bags depicting cacti. What is the bottomless dressing room in USATU?!
3) " March»
a) a memory of a picnic by the lake; b) Misha's dance.
Roles: mother - Regina Utyasheva, daughter Masha - Kristina Shulga, husband Misha - Sergey Kondratiev, guest - Ulyana Utyasheva.
A sausage stick that fell on the stairs. Regina overacts with a constant "yes, y-yes, yes." The play moves from tragicomedy to the genre of absurdity. Only Christina plays naturally and organically.
I managed to watch the full and earlier version of the production with a slightly different cast: mother - Galina Chepurnova (Gala), Misha - Salavat. It is this version that is posted in the photographs on the MTM website: http://mtm-menya.info/files/index.html. And a fundamentally different vector in the RDT "March" was played as a mystical horror movie.
The plot of the play "March" itself is not unambiguous, admits various interpretations what the author wanted to say, therefore, requires a separate review.
4. " Mozziconi»
The performance "Mozziconi" was presented by two monologues of the protagonist, dancing and playing "bottle" with the audience. A documentary was shown on the screen, when the MTM-movers moved "to the people" in costumes from the play "Mozziconi" holding philosophical slogans on cardboard in their hands. And passers-by on the streets of Ufa were asked what they thought about it. This performance is an example of the genre of socio-political satire. From the very beginning of the performance, I was surprised how during the period of “tightening the screws” this creative experiment was allowed.
On stage, the roles were played by: Mozziconi - the permanent and irreplaceable Timur Sarvarov, four flower girls with umbrellas: Christina Shulga, Regina Utyasheva; four young men with a volleyball net.
a) dancing in bathrobes. A very successful smooth transition from "March", there, too, the heroes were sitting in bathrobes. I think not many viewers realized that the next performance had begun.
b) monologue scratching the stomach. He tried to get drunk - only his head ached, he smoked cigarette after cigarette, but he did not become a heavy smoker. The belly is the seat of the imagination, not the head. It is necessary to teach in schools to scratch the stomach correctly.
c) where is the middle of even numbers? I'll give a million to the one who answers;
The song “Happiness is” “Why do I howl like a wolf at the moon? Not enough vitamins, I'm going to the bottom.
d) throwing bottles into the hall. Timur-Mozziconi was throwing plastic bottles into the hall along a hinged trajectory, which I mentioned at the beginning of the review. All the bottles first fell on the volleyball net, which was worn over the auditorium, and then fell into the outstretched hands of the audience. My students managed to catch one of the bottles, they recklessly unscrewed the cap, took out the program of the performance. But she didn't have any money. They were childishly upset that the magician had deceived them. Who got the "happy" bottle, I could not see.
5. " All mice love cheese»
The performance based on the play by Gyula Urban “All Mice Love Cheese” is known to the Ufa public for performances in state theaters. Its genre is more children's play than comedy. One excerpt from three scenes was shown on stage:
a) the dialogue of the gray mouse Shomo with the white mouse Fruzhi;
b) white mouse sings a song to English language. In those five performances that I managed to see this element was not;
c) Lidi, Shoma's mother, appears, finds them together and arranges a dressing.
Roles: gray mouse Shomo - Ildar Shakirov, white mouse - Elina Gabidullina, gray mother Lydia - Lilya Mukhametshina.
Pleasantly struck by Elina Gabidullina. Such a combination of expression (manifested in the "Cowboy Story"), plasticity (Internet noodles), vocals (aria in English). If it goes on like this, then she will be able to become a star on a par with even Regina and Galya.
6. "Tales of Lena and Seryozha»
Hosts: Ulyana and Timur
1) "King": Seryozha - Pasha, Lena - Christina; King - Innocent;
2) “Lena got lost”: Seryozha - “fat”, Lena - Regina;
3) “Bathing and a crocodile”: Seryozha - Innokenty, Lena - Regina, Crocodile - Pasha;
4) "Robbers": Seryozha - Pasha, Lena - Regina; Robbers - Ivan, Ildar, Timur. The robbers this time were some kind of lethargic.
5) "Soldier": Seryozha - Innokenty, Lena - Christina. Innokenty failed to outplay Salavat.
6) “The Case with the Seal”: Seryozha - Innokenty, Lena - Regina, Seal - Christina, Lariska - “Lilya Mukhametshina”;
So far, Christina has not managed to beat Masha Gadzhieva.
7) "Death": Seryozha - Timur, Lena - "Elina Gabidullina", Death - Pasha.
8) "Witch": Seryozha - Timur Sarvarov, Lena - Ulyana, Vasya - Ildar, Witch - Ivan, Button - Christina, alcoholic father - Pasha, stepmother - Christina, sister - Regina, twins Innocent,.
Ivan once again proved that he is a master of disguise, and a versatile actor. But this is not the director's first experiment in introducing a young man into the role of a witch. Rishat Khasanov played the witch quite interestingly on 04/04/2013.
Tonight has demonstrated how useful it is when life circumstances “pull out” irreplaceable veterans from the troupe. The absence of the great Galya Chepurnova on the stage for a good reason made it possible to create so many new creative discoveries. The phenomenon of the "irreplaceable turner Uncle Petya". I'm looking forward to February 25 to find out: they will introduce replacements for the roles of Mozart and Salieri in Pushkin's "Mozart and Salieri" or due to the absence of Gali and Aigul, this short story will be removed.
9) “The bruise quickly passed, but the leg ...” - they did not show.
Musical accompaniment traditionally remained the song of Y. Shevchuk "Clouds were flying":
Clouds flew
They flew far.
Like a mother's hand
Like daddy's tights
Like ship fish
Like the thoughts of a fool
Above the glass of the earth ...
A new ending appeared, which can be called "Farewell Tango": "Better to be one-legged than to be lonely" (music and song from Soviet cartoon"Treasure Island"). Great find from the director! It fits very organically to "Lena and Serezha" as a final composition or an option for an encore. The previous one, “Clouds were flying”, I would have removed from the final.
The success of "Tales of Lena and Seryozha" in the repertoire of MTM is primarily due to the fact that it 100% fits the very name of the theater and its vector: the Workshop of theatrical miniatures.
Student Feedback
Elmira Garifullina liked everything very much. I was especially impressed by the pivotal story of Lena and Seryozha from kindergarten to death. I liked the fact that there is life, laughter and sadness. The most interesting acting find is Ivan Tsekalo as a witch.
Dmitry Osipov: Actor play pretty high level. Despite the "naked" enthusiasm, they are able to convey the feelings and experiences of the characters, which not everyone can do. Outcome: 10 crocodiles out of 10. There was a lot of confusion in the first part, not everything was remembered. Internet noodles are not very good (the idea itself is good, but the jokes did not work). Cowboy Story is pretty good. There are memorable actors (the main character from "Mozziconi") and the main heroine from "Purely Simple", the rest are not particularly memorable. I didn’t pay attention to the musical series, so everything is fine. In my opinion, everything and everything is in its place, so I would not touch anything.
Conclusion
Since I have been a regular MTM viewer since March 2009, I perceived what was happening on the stage through two phenomena “bridge” and “ghosts”. Two pictures superimposed before my eyes: what was happening on the stage now, and the previous performers of these roles: “from the artists of bygone times, sometimes there are no names left.”
For good plot a loopback is desirable: where we started, we ended up with that. I got to MTM by the phrase of Alexander Yuryevich Zalesov “The theater is alive!”. And now, after watching the retrospective, I can confirm: The theater is alive! Especially MTM! He has a future! The basis of this hope is the “bridge” between the “veterans” who do not want to leave and “ new shift”: Elina Gabidullina, Lilya Mukhametshina, as well as the replenishment, who clearly declared herself in the play “Purely Simple”.
