"War and Peace" is the third opera by Sergei Sergeevich Prokofiev, based on the epic novel "War and Peace" by L.N. Tolstoy. I note that at first the world saw a concert performance of this work in 1944, and only then in 1946 did the premiere take place on stage. The country was raging the most real war, and there was nothing to do with operas.
To fit Tolstoy's huge novel into the framework of one opera it was very difficult. It is all the more interesting that Prokofiev worked on the libretto for the opera himself, together with his wife M. Mendelssohn-Prokofieva. The work was done simply colossal, to be sure. Everyone notes that Prokofiev managed to create a real masterpiece.
As you all know, two main themes interact from the very beginning in this opera. One tells about the society before the invasion of Napoleon, and the other is devoted to a much more subtle and lyrical subject - the love of Natasha Rostova and Andrei Bolkonsky.
Everyone knows the famous lyrical waltz of Natasha's first ball, which perfectly shows the touching attitude of the girl to her beloved, her confusion. In parallel with this, a story about representatives local nobility who are ready to show their loyalty to duty and honesty in the face of impending disaster. This waltz later appears in the opera several times in various variations, bringing us back to the fateful events.
But at the ball at Helen Bezukhova, a completely different waltz sounds, which draws completely different feelings, reveals Kuragin and Dolokhova, who are deprived of real feelings for their homeland.
The music in this opera reveals the theme of patriotism, the people united to fight a common enemy. Remember at least the scene of the review of the Russian army by Kutuzov. A very major, dynamic melody conveys the desired victory over the French. But all this, of course, is not as attractive as the image of Natasha, who in the opera is as close as possible to the original image invented by Tolstoy.
Many argue that in this opera Prokofiev is the direct heir of Glinka, Mussorgsky, Tchaikovsky and other great Russian composers. This is a truly unique patriotic work, written in a very difficult time for the country, which has become a real masterpiece of world culture.
In 2012 we celebrate 200 years Patriotic War 1812 and it is not at all surprising that the directors paid attention to the legendary work of the Russian composer.
March 28, 2012 at musical theater named after Stanislavsky and Nemirovich-Danchenko will premiere new production the greatest opera of the 20th century - Sergei Prokofiev's musical epic "War and Peace". It was on this stage that the Moscow premiere of the work took place in 1957. At that time, the production was directed by the outstanding Russian conductor Samuil Samosud, one of the main propagandists of the opera of the 20th century.
In an interview, Arefiev says the following about the new production:
« Credibility varies. For me, authenticity lies, first of all, in the authenticity of the sensations and expectations that appear when we read Tolstoy's novel or listen to Prokofiev's music. And everyone has their own feelings and expectations. Absolute authenticity, if we mean historical authenticity, is impossible to achieve today - I know this for sure. Mostly because people are different. It's all about the nuances: for example, to expect that all participants in our project can just as easily and naturally wear the clothes of the time as they were worn in early XIX century, it would be too naive. Or fabrics. It is probably possible to create exactly the same fabric as it was in those distant times, but this is a troublesome, costly business. And is it necessary?
We are aware that today a spectator of any level of preparedness can come to us, and we are glad to see everyone. Theater - in addition to being a platform where art projects and ambitions is also a public object of humanitarian knowledge. Humanitarian aid, if you like. And the theater should share its knowledge with those who do not have this knowledge.».
But what does the namesake say about the image of Natasha literary heroine and the performer of her role Natalya Petrozhitskaya:
« When I took the party, I thought: “God, what kind of fool are you, Natasha - there is one here, another here, where are you going?”. And then I understood her, she needed it and everything was interesting. When in the sixth scene, she asks Pierre to tell Bolkonsky to forgive her, I honestly cry. I'm so embarrassed at this moment. Mom dear, what have I done».
We are promised a fantastic spectacle, with chic costumes, excellent design and amazing voices. I'm not sure that I will get to the premiere, but I will be very glad to hear the feedback from those who have been. In any case, performances of such colossal works are not recommended to be missed.
On the stage there were even boards in the middle, painted cardboard depicting trees stood on the sides, and a canvas on the boards was stretched behind. In the middle of the stage were girls in red corsages and white skirts. One, very fat, in a white silk dress, sat apart, on a low bench, to which a green cardboard was pasted at the back. They all sang something. When they finished their song, the girl in white went up to the prompter's booth and a man in tight-fitting silk pantaloons on thick legs, with a feather and a dagger, approached her and began to sing and spread his arms. The man in tight trousers sang alone, then she sang. Then they both fell silent, the music began to play, and the man began to run his fingers over the hand of the girl in the white dress, obviously waiting for the beat again to begin his part with her. They sang together, and everyone in the theater began to clap and shout, and the man and woman on the stage, who portrayed lovers, began to bow, smiling and spreading their arms. After the village, and in the serious mood in which Natasha was, all this was wild and surprising to her. She could not follow the progress of the opera, could not even hear the music: she saw only painted cardboard and strangely dressed men and women moving, talking and singing strangely in the bright light; she knew what all this was supposed to represent, but it was all so pretentiously false and unnatural that she felt ashamed of the actors, then laughed at them. She looked around her, at the faces of the spectators, looking for in them the same sense of mockery and bewilderment that was in her; but all the faces were attentive to what was happening on the stage, and expressed feigned, as it seemed to Natasha, admiration. "It must be so necessary!" thought Natasha. She alternately looked either at these rows of pomaded heads in the stalls, or at the naked women in the boxes, especially at her neighbor Helen, who, completely undressed, with a quiet and calm smile, without taking her eyes off, looked at the stage, feeling bright light, spilled throughout the hall, and warm, crowd-warmed air. Natasha gradually began to come into a state of intoxication she had not experienced for a long time. She did not remember what she was and where she was and what was happening before her. She looked and thought, and the strangest thoughts suddenly, without connection, flashed through her head. Now she had the idea of jumping up on the ramp and singing the aria that the actress sang, then she wanted to hook the old man who was sitting not far from her with a fan, then bend over to Helen and tickle her. At one of the minutes, when everything was quiet on the stage, waiting for the beginning of the aria, the Entrance door, and on the carpet of the parterre on the side on which the Rostov box was, the steps of a belated man sounded. "Here he is, Kuragin!" Shinshin whispered. Countess Bezukhova turned, smiling, to the incoming person. Natasha looked in the direction of Countess Bezukhova's eyes and saw an unusually handsome adjutant, with a self-confident and at the same time courteous look, approaching their box. It was Anatole Kuragin, whom she had long seen and noticed at the St. Petersburg ball. He was now in an adjutant's uniform with one epaulette and aiguillette. He walked with a restrained, valiant gait, which would have been ridiculous if he were not so good-looking and if his beautiful face did not have such an expression of good-natured contentment and fun. Despite the fact that the action was going on, he, slowly, slightly jingling his spurs and saber, smoothly and high carrying his beautifully perfumed head, walked along the sloping carpet of the corridor. Glancing at Natasha, he went up to his sister, put his gloved hand on the edge of her box, shook her head and, bending down, asked something, pointing to Natasha. Mais charmante! he said, obviously about Natasha, as she heard not so much as she understood from the movement of his lips. Then he went into the first row and sat down beside Dolokhov, friendly and casually elbowing that Dolokhov, whom others treated so ingratiatingly. He winked merrily, smiled at him and put his foot on the ramp. How similar brother and sister are! said the Count. And how good both are. Shinshin in an undertone began to tell the count some story of Kuragin's intrigue in Moscow, to which Natasha listened precisely because he said charmante about her. The first act ended, everyone in the stalls got up, got mixed up and began to walk and go out. Boris came to the Rostovs' box, accepted congratulations very simply and, raising his eyebrows, with an absent-minded smile, conveyed to Natasha and Sonya the request of his bride to be at her wedding, and left. Natasha, with a cheerful and coquettish smile, talked to him and congratulated on his marriage the same Boris with whom she had been in love before. In the state of intoxication in which she was, everything seemed simple and natural. Naked Helen sat beside her and smiled the same way at everyone; and Natasha smiled at Boris in exactly the same way. Helen's box was filled and surrounded on the side of the stalls by the most noble and intelligent men, who seemed to vied with each other to show everyone that they knew her. Kuragin stood all this intermission with Dolokhov in front of the ramp, looking at the Rostov box. Natasha knew that he was talking about her, and it gave her pleasure. She even turned so that he could see her profile, in her opinion, in the most advantageous position. Before the start of the second act, the figure of Pierre appeared in the stalls, whom the Rostovs had not seen since their arrival. His face was sad, and he had grown even fatter since his last time saw Natasha. He, not noticing anyone, went to the front rows. Anatole went up to him and began to say something to him, looking and pointing to the Rostov box. Pierre, seeing Natasha, perked up and hurriedly, along the rows, went to their bed. Approaching them, he leaned on his elbows and, smiling, spoke for a long time with Natasha. During her conversation with Pierre, Natasha heard in the box of Countess Bezukhova male voice and for some reason found out that it was Kuragin. She looked back and met his eyes. He, almost smiling, looked straight into her eyes with such an admiring, affectionate look that it seemed strange to be so close to him, to look at him like that, to be so sure that he liked you, and not to be acquainted with him. In the second act there were cardboards depicting monuments, and there was a hole in the canvas depicting the moon, and the lampshades on the ramp were raised, and trumpets and double basses began to play bass, and many people in black robes came out to the right and left. People began to wave their hands, and in their hands they had something like daggers; then some more people came running and began to drag away that girl who was formerly in a white dress, but now in a blue dress. They didn’t drag her away right away, but sang with her for a long time, and then they dragged her away, and behind the scenes they hit something iron three times, and everyone knelt down and sang a prayer. Several times all these actions were interrupted by the enthusiastic cries of the audience. During this act, every time Natasha looked into the stalls, she saw Anatole Kuragin, throwing his arm over the back of the chair and looking at her. She was pleased to see that he was so captivated by her, and it did not occur to her that there was something bad in this. When the second act was over, Countess Bezukhova got up, turned to the Rostovs' box (her chest was completely bare), beckoned the old count to her with a gloved finger and, not paying attention to those who entered her box, began, smiling graciously, talking to him. “Please introduce me to your lovely daughters,” she said. “The whole city is screaming about them, but I don’t know them. Natasha got up and sat down to the magnificent countess. Natasha was so pleased with the praise of this brilliant beauty that she blushed with pleasure. “Now I also want to become a Muscovite,” said Helen. “And how shameless you are to bury such pearls in the countryside!” Countess Bezukhova rightfully had a reputation as a charming woman. She could say what she did not think, and especially flatter, quite simply and naturally. “No, dear Count, let me take care of your daughters. At least I'm here for a little while. And you too. I will try to amuse yours. I heard a lot about you in St. Petersburg and wanted to get to know you, ”she said to Natasha with her uniformly beautiful smile. “I heard about you from my page, Drubetskoy, you heard he was getting married, and from my husband’s friend Bolkonsky, Prince Andrei Bolkonsky,” she said with particular emphasis, hinting that she knew his relationship with Natasha. She asked to get to know her better, to allow one of the young ladies to sit the rest of the performance in her box, and Natasha went over to her. In the third act, a palace was presented on the stage, in which many candles burned and paintings depicting knights with beards were hung. Probably the king and queen stood in front. The king waved right hand and, apparently shy, sang something badly and sat down on the crimson throne. The girl, who was first in white, then in blue, was now dressed in one shirt, with her hair loose, and stood near the throne. She sang about something sadly, turning to the queen; but the king waved his hand severely, and men with bare legs and women with bare legs came out from the sides and began to dance all together. Then the violins began to play very thinly and cheerfully. One of the girls, with bare thick legs and thin arms, separated from the others, went backstage, straightened her bodice, went to the middle and began to jump and soon beat one foot on the other. Everyone in the stalls clapped their hands and shouted bravo. Then one man stood in a corner. In the orchestra, cymbals and trumpets began to play louder, and this one man with bare legs began to jump very high and mince his legs. (This man was Duport, who received sixty thousand silver rubles for this art.) Everyone in the stalls, in the boxes and the raike began to clap and shout with all their might, and the man stopped and began to smile and bow in all directions. Then others danced, with bare legs, men and women, then again one of the kings shouted something to the music, and everyone began to sing. But suddenly there was a storm, they heard in the orchestra chromatic scales and chords of a diminished seventh, and everyone ran and dragged again one of those present backstage, and the curtain fell. Again, a terrible noise and crackling arose between the spectators, and everyone, with enthusiastic faces, began to shout: — Duport! Duport! Duport! Natasha no longer found this strange. She looked around with pleasure, smiling happily. - N "est ce pas qu" il est admirable - Duport?Anna Igorevna reviews: 18 ratings: 25 rating: 21
Everything is incredible! Fanfariously and sincerely well - confidently and measuredly, gradually and progressively, so quietly, subtly, mercilessly, sweepingly and contagiously - that I simply proceeded in bodily gratitude throughout - not for a moment tiresome- four hours of marvelous play in these peace-war duma scenes - about anticipation and intonations ( and-izu-um-it-elny intonations!). And here is this - soooo!- delight - zealous and detailed - I have not experienced for a long time. Beauty, in a word - detailed and worked out.
Leo Becker reviews: 6 ratings: 6 rating: 8
This is probably another attempt, and far from the last, to put on stage or film the Great work of world literature, which is not a play. Forgive me the director and actors, but the attempt is clearly unsuccessful. I tried to try, as my colleagues in mathematics say, to leave out the product itself. Nothing works. The images of the novel continue to dominate me due to the power of the author, and what is happening on the stage is not impressive in itself, because it does not capture either the action or the text. A natural question arises - why did the director and actors take on this grandiose and obviously unbearable task for them, and what was their goal? And you can’t find an answer except that we are all people who grew up in the space of the Russian language, from early childhood to old age we live under the influence of two pillars of Russian literature - Tolstoy and Dostoevsky, and therefore each of us, and especially people creative professions there is a temptation to try to voice your own version of the understanding of "War and Peace" or "The Brothers Karamazov" or "Anna Karenina" or "Crime and Punishment". We remember good luck - very solid Anatole Kuragin and Dolokhov, brilliantly played in famous movie Bondarchuk Vasily Lanov and Oleg Efremov. We understand that Porfiry Petrovich is a great success of Innokenty Mikhailovich Smoktunovsky. Maya Mikhailovna Plisetskaya was good in the role of Princess Betsy, and Nikolai Gritsenko was an undoubted success in the role of Karenin. An outstanding film role is Andrey Myagkov as Alyosha in The Brothers Karamazov directed by Ivan Pyryev. I would like to note that only dramatizations and adaptations of the textbook, classical plan turned out to be successful and were positively received by the audience. This is an amazing paradox, one of the clearest proofs of this is the very successful adaptations of Turgenev, for example, the best adaptation, according to the author of this text, literary work, Feature Film « Noble Nest where, in my opinion, young actors Leonid Kulagin and Irina Kupchenko played brilliantly. It is an ungrateful business to film literary works, and an even more dangerous business is to stage literary works. Let us recall the scandalous and at the same time completely failed and, I would say, mediocre performance of The Master and Margarita at the Taganka Theater.
Quite a different thing modern interpretation dramatic classics, up to the change of scenery and costumes, and even the breakdown of the usual appearances of the characters in front of the stunned audience of the older generation - the shock that I personally experienced while watching the play "Khlestakov" at the Stanislavsky Theater. Even the name of the immortal creation, from my point of view, the greatest Russian writer and playwright Nikolai Vasilyevich Gogol, dared to change. But how everything is done, how it is played out, how a completely new image lives on the stage, which has nothing in common with everything that has been done before, and then there is an organic feeling of the presence of everyone on the stage - the Author and the actors, the director and even the viewer. I would like to go there, behind the ramp and talk with Khlestakov performed by Maxim Sukhanov, ask him questions and hear answers.
I am not a theatrical figure, not an actor, not a director, not a critic, not a professional. But I consider myself a professional theatrical spectator, because for more than 40 years I have been constantly going to the theater and I remember Liya Akhedzhakova when she was a travesty at the Moscow Theater of Young Spectators. And in my entire career as a theatrical spectator, I have never seen a single worthy stage version of a literary work. And "Demons" in "Sovremennik", staged by the great director Andrzej Wajda, are also no good, although I think that Dostoevsky is 100 times more scenic than Tolstoy, well, if only because Tolstoy has a long literary phrase, which is captivating because it is long, because this is Tolstoy's long one. How can this be realized on the stage, given that the scene requires the development of action in the first place and the brevity and capacity of the monologues and dialogues of the characters in the second place. No wonder His Excellency, Count Leo Nikolayevich Tolstoy could not stand Shakespeare. Who said that the Great Ones do not envy the Great Ones. I can already see my opponents rubbing their hands. But what about Pushkin, but what about the phrase that "genius and villainy are two incompatible things." Incompatible, incompatible, only from envy to villainy "a huge distance," as another Alexander Sergeevich - Griboedov noted.
In conclusion, I want to note that I did not like the theater of Pyotr Fomenko. It is a very beautiful, I would say powerful, modern building, excellent acoustics in the hall, wonderful comfortable chairs, but what is happening on the stage pretty much reminded me of the "Taganka" of my youth. In the Russian theater in the 20th century, two main traditions probably developed - the Stanislavsky tradition and the Meyerhold tradition. I am not going to develop this idea now and enter into a debate about who is right and who is not. It is clear that Meyerhold was a great theatrical innovator and that he created his own completely different theater. I note that when the persecution of Meyerhold began, it was Stanislavsky who extended his hand to him and gave him the job. I hear the objections of opponents - but Vakhtangov, and Tairov, and why is it only about Moscow? I will answer, I am talking about two titans, about the founders of the two main directions of Russian theater, which undoubtedly influenced the development of world theater and cinema, because Sergei Eisenstein began with Meyerhold, and Stanislavsky's favorite actor and probably best actor Art Theater, Mikhail Chekhov founded an acting school in Hollywood, where he actively used the Stanislavsky system. I'm not going to argue about which theater is good and which is bad - directing or acting. I am a naturalist, not a humanist, I love facts and not philosophizing on obvious topics. After the Meyerhold Theater was destroyed, what happened to its leading actors - Babanova, Garin, Tsarev, Ilyinsky and many others? They brilliantly realized themselves in other theaters, in cinema, on the stage, performing in solo or combined concerts as readers, and later on television. And what happened to those actors of the Taganka theater who, after a tragic early death Vysotsky and not returning Lyubimov tried to change jobs? And who is in the Taganka Theater by and large was, in fact, an actor besides Vysotsky, Demidova and sometimes Gubenko? One can endlessly continue the debate about which theater is more correct for directing or acting, who is right Stanislavsky or Meyerhold. Do you remember the famous phrase that seems to have been said by the engineer Alekseev, who later became the Great Theater Director Stanislavsky - “the theater begins with a hanger”, and how does it end? An actor standing at the ramp and pronouncing the text.
Forgive me, my reader, I did not like the Fomenko Theater, but I do not allow myself to make my judgment on the basis of one fact. I really want to see other performances there and form my own opinion, since it is unfair to judge the theater by one performance, by one production, perhaps not the most successful one.
Andrey Stepenkov reviews: 33 ratings: 36 rating: 29
To date, the best performance I have seen from Fomenko. So sensual, lively and not a drop of "moralite" with which I was so "soared" at school. They are not cardboard heroes, ordinary living people! It is urgent to re-read, the age has approached :). Almost 4 hours fly by easily, and not enough, until the morning I would watch and watch. More than ten years on stage, but how fresh! Here it is, directorial talent, enjoy!
Dai Nenashev reviews: 62 ratings: 83 rating: 194
I first saw classic, which not only almost completely revived exactly those images that remained in my head from school, but also did it piece easy, insanely beautiful and not boring for a second.
Three acts, in each of which the actors change roles. One actor plays, as a rule, heroes who will become rivals in the future or already are. A very interesting approach, as well as light accents and a flawless game.
This is right THEY. Those same heroes famous novel at the very beginning of your journey. They still sometimes do not know each other, but we know what will happen next, we see their future behind each of them, and it is all the more interesting to watch how they, still innocent, not yet in contact with the War, are in the World.
Half a breath from the beauty and accuracy to the millimeter of each stage of the production and a ray of light, we sat for all these short 4 hours, and then we discussed what we saw for a long time and with enthusiasm. Fomenko is no stranger to symbolism, and this always leaves a hint of a riddle, a hint of the author, which will become wonderful food for a wonderful conversation after the performance.
Definitely go. This performance is flawless.
Scenario
Scene 1
Salon of Anna Pavlovna Sherer.
Pierre Bezukhov and Andrei Bolkonsky.
Anna Pavlovna Sherer
Prince Vasily
Helen Kuragina
Anatole Kuragin
Andrey Bolkonsky
Princess Elizabeth Bolkonskaya
ladies secular society
(Leading: Anna Pavlovna's drawing room began to gradually fill up. The highest nobility of St. Petersburg arrived, people of the most heterogeneous in age and character, but the same in the society in which everyone lived; the daughter of Prince Vasily, the beautiful Helen, arrived, who had called in for her father to go with him to the feast of the envoy. She was in cipher and ball gown. The well-known ... the young, little princess Bolkonskaya, who got married last winter and now did not go out into the big world because of her pregnancy, but went on small evenings ... It was fun for everyone to look at this, full of health and liveliness, a pretty mother-to-be, who endured her situation so easily ...)
Princess Bolkonskaya: See Annette,I took the jobshe turned to the hostess. - Don't play a bad joke on me; you wrote to me that you had a very small evening. See how badly I'm dressed.
And she spread her hands to show her, in lace, an elegant gray dress, girded with a wide ribbon a little below her breasts.
Anna Pavlovna: Be calm, you will be the best.
Princess Bolkonskaya: You know, my husband is leaving me. Goes to death. Tell me, why this nasty war?(referring to the general)
Prince Vasily (quiet) Anna Pavlovna: What a lovely person this little princess is!
Anna Pavlovna: It is very kind of you, Pierre, that you have come to visit the poor sick woman ... You do not know Abbé Maurio? He is very interesting person…
Pierre Bezukhov: Yes, I heard about his plan eternal peace, and this is very interesting, but hardly possible ...
Andrey Bolkonsky: Pierre, my old friend! And you are in big light!
Pierre Bezukhov: Andrey! I knew you would.(greet each other)
Andrey Bolkonsky: I'm so glad to see you here! enjoy high society?
Pierre Bezukhov: Yes! And, as usual, I'm making a fool of myself.
(Get out)
Andrey Bolkonsky: Never, never marry, my friend; here is my advice to you: do not marry until you tell yourself that you have done everything you could, and until you stop loving the woman you have chosen, until you see her clearly; otherwise you will make a cruel and irreparable mistake. Marry an old man, worthless ... Otherwise, everything that is good and lofty in you will be lost. Everything is wasted on trifles. Yes Yes Yes! Don't look at me with such surprise...
My wife - a beautiful woman. This is one of those rare women with whom you can be dead for your honor; but, my God, what would I not give now not to be married! This I tell you alone and first, because I love you.
Pierre Bezukhov: It's funny to me that you consider yourself incapable, your life - a spoiled life. You have everything, everything is ahead. And you…
Andrey Bolkonsky: You don't understand why I'm saying this. Drawing rooms, gossip, balls, vanity, insignificance - this is a vicious circle from which I cannot get out. I'm off to war now the greatest war, which only happened ...
Scene 2
Andrey Bolkonsky
Characters:
Prince Nikolai Bolkonsky
Prince Andrei Bolkonsky
Princess Marya Bolkonskaya
Princess Elizabeth Bolkonskaya
Maria Bolkonskaya: I was told that you ordered to pawn. God knows how long we'll be apart. You have changed a lot, Andryusha. I have a big request for you.
Andrey Bolkonsky: What, my friend?
Maria Bolkonskaya: It won't cost you any work. (Takes out a scapular from her purse) Our grandfather still wore it in all wars. I bless you in an image, and you promise me that you will never shoot. Promise?
Andrey Bolkonsky: Very glad, really, very glad, my friend.
Maria Bolkonskaya: He will save and have mercy on you; in him alone is truth and peace. Please, Andre, for me. (Puts a scapular around his neck)
Father: Are you going? Thank you for not holding on to a woman's skirt! Do not worry about your wife: what is possible will be done.
Andrey Bolkonsky: I will do everything, father! Came to say goodbye.
Father: Remember one thing, Prince Andrei, if they kill you, it will hurt me, an old man. And if they find out that you did not behave like the son of Nikolai Bolkonsky, I will be ashamed.
Andrey Bolkonsky: You could not tell me this, father. Farewell!
(music plays military theme shots are heard)
Andrei Bolkonsky's wound .
“Where is it, this high sky, which I did not know until now and saw today?” was his first thought. “And I did not know this suffering either,” he thought. Yes, I didn't know anything until now. But where am I?
It would be nice, - thought Prince Andrei, looking at this icon, which his sister hung on him with such feeling and reverence, - it would be nice if everything were as clear and simple as it seems to Princess Marya. How good it would be to know where to look for help in this life and what to expect after it, there, beyond the grave! How happy and calm I would be if I could say now: Lord, have mercy on me! ... "
Scene 3
Natasha Rostova and Andrei Bolkonsky
Characters:
Pierre Bezukhov
Andrey Bolkonsky
Natasha Rostova
Countess of Rostov
Cousin Sonya
Leading:
Mazurka, gentlemen! used to
When the mazurka thundered,
Everything in the great hall was trembling,
The parquet cracked under his heels.
Shaking, rattling frames,
Now it's not that: and we are like ladies,
We slide on varnished boards.
Pierre: You are always dancing! There is my protégé, young Rostova, invite her.
Andrey Bolkonsky: Where? Yes, you have to dance at the ball. (Goes to Natasha and her mother)
Countess of Rostov: Let me introduce you to my daughter!
Andrey Bolkonsky: I have the pleasure of being acquainted, if the Countess remembers me. I ask you for a waltz tour.
(Waltz)
(Natasha, pale and frightened, runs into the living room)
Natasha Rostova:
Mom, Bolkonsky has arrived! Mom, this is terrible, this is unbearable! I don't want to... suffer! What should I do?..
Countess of Rostov:
We haven't had fun in a long time...
Andrey Bolkonsky:
I have not been with you all this time, because I was with my father: I had to talk to him about a very important matter. I just got back last night. I need to speak to you, Countess.
Countess of Rostov
: I am at your service.
Countess of Rostov
(whispers)
Natalie:
Come on, Natasha, I'll call you.
Andrey Bolkonsky:
I have come, Countess, to ask for your daughter's hand in marriage.
Countess of Rostov:
Your offer... Your offer... we are pleased, and... I accept your offer, I'm glad. And my husband... I hope... but it will depend on her...
Andrey Bolkonsky:
I will tell her when I have your consent... do you give it to me?
Countess of Rostov:
Yes!(Said the countess and shook hands with him).
I'm sure my husband would agree, but your father...
Andrey Bolkonsky:
My father, to whom I communicated my plans, made it an indispensable condition for my consent that the wedding should not take place. before a year. And this is what I wanted to tell you.
Countess of Rostov:
It is true that Natasha is still young, but so long!
Andrey Bolkonsky:
It couldn't be otherwise.
Countess of Rostov:
I will send it to you.(The countess said and left the room)
Natasha Rostova:
What? mother?.. What?
Countess of Rostov:
Go, go to him. He asks for your hand.
Andrey Bolkonsky:
I loved you from the moment I saw you. Can I hope?(He took her hand and kissed it)
Do you love me?
Natasha Rostova:
Yes Yes!
Andrey Bolkonsky:
What's wrong with you?
Natasha Rostova:
Oh I'm so happy
Andrey Bolkonsky: Did maman tell you that it couldn't be before a year?
Natasha Rostova:
No.
Andrey Bolkonsky:
Forgive me, but you are so young, and I have already experienced so much in my life. I'm scared for you. You don't know yourself. No matter how hard this year will be for me, delaying my happiness, during this period you will test yourself. I ask you to make my happiness in a year; but you are free: our engagement will remain a secret, and if you are convinced that you do not love me, or would love ...
Natasha Rostova
(interrupts):
Why are you saying this? You know that from the very day you first came to Otradnoye I fell in love with you.
Andrey Bolkonsky:
In a year you will know yourself ...
Natasha Rostova
(with indignation):
A whole year! Why is it a year? Why is it a year?.. And it can't be otherwise?(Prince Andrew shook his head)
It's horrible! No, it's terrible, terrible! I'll die waiting for a year: it's impossible, it's terrible...(Calmly)
No, no, I'll do anything, I'm so happy!
Scene 4
Natasha Rostova and Anatole Kuragin
Characters:
Helen Kuragina
Anatole Kuragin
Pierre Bezukhov
Natasha Rostova
Cousin Sonya
Countess of Rostov
Andrey Bolkonsky
Stage in the theater
Helen: Let me introduce you to my brother.
(Natasha makes a reference, Anatole takes her hand and kisses her in greeting)
Anatole Kuragin: Do you know, Countess, we have a carousel in costumes; you should participate in it: it will be very fun. Everyone gathers at the Karagins. Please come, right, eh?
Natasha Rostova: I don't know right...
Helen leads towards Natalie.
Helen: Yesterday my brother dined with me - we were dying of laughter - from the moment he saw you, he does not eat anything and sighs for you, my charm. He's crazy, but he's crazy in love with you, my dear.
Helen (to the side): How red, how red!
(Loud): Come by all means!
Natasha and Anatole
Natasha Rostova (looking at Helen) How good she is!
Anatole Kuragin: I don't find looking at you. You are charming ... from the moment I saw you, I did not stop ...
Natasha Rostova: Don't tell me things like that, I'm engaged and in love with someone else.
Anatole Kuragin : Don't tell me about it. What is my business? I say I'm madly, madly in love with you. Is it my fault that you are amazing?
I can't visit you, but will I never see you again? I love you madly.
Anatole Kuragin hugs Natasha Rostova.
Anatole Kuragin: Natalie?!
Natasha Rostova runs away from him.
Scene in the Rostovs' house.
Natasha Rostova is alone in the room. Maid enters
Maid: Young lady! One person told me to deliver.
Natasha reads the letter.
“Since last night, my fate has been decided: to be loved by you or die. I have no other choice. Your relatives will never give you up for me, that is secret reasons, which I can open to you alone at a meeting. If you love me, then I ask you to leave with me. I am ready for anything for you, ready to take you to the ends of the earth, and no human forces will interfere with our bliss. Love conquers all."
Natasha leaves the room, leaving the letter on the table. Sonya enters, reading a letter. Enter Natasha.
Natasha Rostova: Sonya, did you read the letter?
Sonya (quietly): Yes...
Natasha Rostova: No, Sonya, I can't take it anymore! I can't hide from you anymore. You know, we love each other!... Sonya, my dear, he writes... Sonya: And Bolkonsky?
Natasha Rostova: Oh, Sonya, oh if only you could know how happy I am! You don't know what love is...
Sonya: But, Natasha, reallyThat everything is over? Well, are you refusing Prince Andrei? I don't understand. How did you love one person for a whole year and suddenly ... After all, you only saw him three times. Natasha, I don't believe you, you're being naughty. Forget everything in three days...
Natasha Rostova: Three days ... It seems to me that I have loved him for a hundred years. I feel like I've never loved anyone before him. You cannot understand this. Sonya, wait, sit down here. I was told that this happens and you heard it right, but now I have only experienced this love. It's not like before. As soon as I saw him, I felt that he was my master and I was his slave, and that I could not help but love him. Yes, slave! What he tells me, I will do. You don't understand this. What should I do? What should I do, Sonya?
Sonya: But you think what you're doing, I can't leave it like this. These secret letters... I won't let it happen, I'll tell you.
Natasha Rostova : What are you, for God's sake... If you tell me, you are my enemy! You want my misfortune, you want us to be separated... Sonya, you can't doubt him, you can't, you can't, do you understand?
Sonya: Does he love you?
Natasha Rostova: After all, you read the letter ...
Sonya: But if he doesn't noble man?
Natasha Rostova: He!... an ignoble person? If you knew!
Sonya: If he is a noble man, then he must either declare his intention, or stop seeing you; and if you do not want to do this, then I will do it, I will write to him, I will tell dad.
Natasha Rostova: Yes, I can't live without it!
Sonya: Natasha, I don't understand you. And what are you talking about! Remember your father, Nicolas.
Natasha Rostova: I don't need anyone, I don't love anyone but him. How dare you say he's ignoble? Don't you know that I love him? Sonya, go away, I don't want to quarrel with you, go away, for God's sake, go away: do you see how I suffer?!
Sonya runs out of the room, Natasha is crying.
Sonya, Vera, Countess Rostova, maids come, close the ring around her. At this time, Anatole arrives .
- Grab him!
- Stop!
- Kuragin! Back! Treason! Back!
Everyone leaves.
Scene in Pierre Bezukhov's house. Helen and Anatole Kuragin are standing in the room, Pierre Bezukhov enters.
Pierre Bezukhov (to Helen): Where you are - there is debauchery, evil. Anatole, let's go, I need to talk to you.
Pierre Bezukhov: You are a scoundrel and a bastard, and I don’t know what keeps me from the pleasure of crushing your head with this!(Picks up a chair.) Did you promise to marry her?
Anatole Kuragin: I, I, I didn't think; However, I never promised, because ...
Pierre Bezukhov: Do you have her letters? Do you have letters?(Anatole gives letters)
Pierre Bezukhov: Letters - once. Second, you must leave Moscow tomorrow.
Anatole Kuragin: But how can I...
Pierre Bezukhov (not listening): Third, you must never say a word about what happened between you and the countess. Are you clear?
Anatole Kuragin: Yes…
They leave.
Scene in the house of Andrei Bolkonsky.
Andrey Bolkonsky: Ah, Pierre, my friend, come in. Are you all fat?
Pierre Bezukhov (throws his hands): As you see!
Andrey Bolkonsky: Forgive me if I'm bothering you... I got a refusal from Countess Rostova, and I heard rumors about your brother-in-law seeking her hand, or the like. Is it true?
Pierre Bezukhov: Both true and not true.
Andrey Bolkonsky: Here are her letters and a portrait. Give it to the Countess if you see her.
Pierre Bezukhov: She is very sick. She was dying...
Andrey Bolkonsky: I am very sorry about her illness. But Mr. Kuragin, therefore, did not honor Countess Rostov with his hand?
Pierre Bezukhov: He couldn't get married because he was married.
Andrey Bolkonsky : And where is he now, your brother-in-law, may I know?
Pierre Bezukhov: He went to St. Petersburg .... however, I don’t know.
Andrey Bolkonsky: Well, it doesn't matter. Tell Countess Rostova that she was and is completely free, and that I wish her all the best.
Pierre Bezukhov: Listen, do you remember our dispute in Petersburg?
Andrey Bolkonsky: I remember I said that a fallen woman must be forgiven, but I did not say that I could forgive. I can't. If you want to be my friend, never talk to me about this ... about all this. Well, goodbye.
Scene 5
Natasha Rostova and Pierre Bezukhov.
Characters:
Marya Bolkonskaya
Natasha Rostova
Pierre Bezukhov
Marya Bolkonskaya: Yes, that's how we meet. I was so glad to hear about your salvation. This was the only good news we have received since a long time ago.
Pierre Bezukhov: You can imagine that I knew nothing about Andrei. I thought he was dead. Everything I learned, I learned from others, through third parties. I only know that he ended up with the Rostovs... What a fate!
Marya Bolkonskaya (pointing to Natasha Rostova, who was sitting at a distance): Don't you know?
Pierre Bezukhov (referring to Natasha): Yes, is there a family without its grief?
What a blessing that he met you.
Natasha Rostova: Yes, it was happiness. He said that he wanted this, the minute I came to him... We didn't know anything when we were driving from Moscow. I didn't dare ask about him. And suddenly Sonya told me that he was with us. I didn’t think anything, I couldn’t imagine what position he was in; I just needed to see him, be with him ... but he left him, Pierre, the wound was too severe, Andrei died. (Natasha cries)
Pierre takes her away. Returns with Mary.
Pierre Bezukhov : But what should I do? I... I love her!
Marya Bolkonskaya: Leave it to me... I know she loves... will love you.
Pierre Bezukhov: Why do you think? Do you think that I can hope? You think?!
Marya Bolkonskaya: I think, yes. Write to your parents. And entrust me. I'll tell her when I can. I wish it. And my heart feels that it will be.
Pierre Bezukhov: No, it can't be! How happy I am! But it can't be... How happy I am!
Pierre comes out with Natasha Rostova.
Pierre Bezukhov: Precious Natasha, I know I have wasted my life, but I have to ask you ... Refuse, I will immediately leave for St. Petersburg and will not bother you anymore, but can you love me?
Natasha Rostova: Yes I can. Yes, I love you, dear Pierre!
Upcoming execution dates
The part of the novel told by the theater is small - the first volume is incomplete. Natasha Rostova, who is in love with Boris Drubetskoy, is still childishly eccentric; little princess Lise has not yet died in childbirth, and Prince Andrey is just going to the active army. The war is still just an excuse for salon conversations and boyish games, but the heart is already piercingly aching from the realization of the fragility and unreliability of peaceful life that unfolded on a narrow strip of the stage between auditorium and a map of military operations that serves as a curtain in this performance.
- Awards
- laureate of the award golden mask" in the nomination "Drama - Performance of a small form", 2002
- Pyotr Fomenko laureate of the Golden Mask award in the Drama - Best Job director", 2002
- Galina Tyunina winner of the "Golden Mask" award in the nomination "Drama - Best female role", 2002
ATTENTION! During the action of the performance, performing the director's creative tasks and the author's remarks, the artists smoke on stage. Please consider this information when planning your visit to this performance.
