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In the "family scenes" of "Capercaillie's Nest", where in general there are no extreme events and the playwright's attention is focused on everyday life, the satirical pathos with which the spiritually dead situation is recreated in the respectable Sudakov family is obvious. Using the example of a father and his two children, Rozov demonstrates both the stages of a person’s moral decline and the irresponsibility of elders with their vicious views on meaning. human existence in front of the young, just entering into independent life generation.
“Capercaillie” is Sudakov Sr., a former participant in the Great Patriotic War, and now a prudent careerist, successfully implementing his ambitious plans. A slave to official intrigues, official prestige, he is deaf to the mental anguish of his children. The figure of the head of the family reflects the priorities Soviet image life, the elite of society, which regards a person solely by his official position. Branded classics of the XIX centuries, false ideals were in demand in the USSR at the end of the 70s, where a person as a given, with his feelings, talents, intellect, is no longer a value in itself. Apparently, Sudakov, manifesting himself, as it is said about him, “somewhere in the field of working with foreigners”, reached those degrees that Vadim, the character in the play “In good hour!».
Rozov, as always, is sensitive to the everyday realities of the time, selected for the realization of a creative idea, - about family values reported already in the first author's remark. Of course, the sideboard, which Oleg Savin frenziedly chopped with his father's saber more than twenty years ago, is incomparable with the current "stylish" decoration of Sudak's office, which should materialize the idea of culture, the breadth of the intellect of its owner. But the point is not in the range of Sudakov's intellectual outlook, but in his desire to be "on a level", to have what, so to speak, "it is supposed to be in rank" for people of his circle. Rozov ironically conveys addictions Soviet elite 70s: for the owner of the cabinet there is no difference between the pagan cults of wild tribes and Christian symbols, Art Nouveau coexists with antiquity, ritual African masks - with icons. Sudakov's moral inconsistency is evidenced by such exotic cabinet decorations as “dried human head small sizes”, an ostrich egg, a stuffed animal of a small crocodile. All this, like the "row of ancient Russian icons", is brought together by a man who is clearly obsessed with ambition.
In the Sudakovs' house, prestige is of paramount importance, and promotion through the ranks, and the education of the youngest son in a special school with the prospect of entering a non-technical university, which was quoted in the 50s (it was not for nothing that Andrei Averin's mother wanted to arrange her child) , but in MIMO.
Even Russian literature in the Sudakov family turns out to be an indicator of prestige. As Sudakov's son Prov says, "in every decent house there is Tsvetaeva, Pasternak and Yuri Trifonov." The books of these writers - however, as well as others - in the 70s were as inaccessible to the majority as a dried head of a small size. And the value of the Sudakovs' home library is determined not by the quantity or even the quality of books, but precisely by their scarcity. Needless to say, such prestigious trifles as Bosch's album or sandwiches with sturgeon, which at that time could only be obtained in special rations. These and similar details of everyday life, as well as random slips of the characters, conversations about nothing, play no less a role in the play than the key monologues.
“The soul swims with the body” - this is how Prov explains the moral deafness of his father. Sudakov Sr. lives in a closed nomenklatura world, his speech consists entirely of direct newspaper quotations, replete with all sorts of ideological postulates. A man of his bureaucratic clan, he is terribly afraid to delve into the problems of the outside world. The friendship of his son with the girl Zoya, whose mother sells vegetables in a stall, and whose father is a plumber is in prison, he perceives as something unacceptable. The self-satisfied "capercaillie" does not notice that the comfortable life that surrounds his family destroys moral principles, cripples the fate of loved ones, devastates them spiritually. Neither the estrangement of his wife, nor the daughter's family drama, nor the son's mental turmoil cause anxiety in him.
Next to Sudakov lives his daughter Iskra, who, at the insistence of her unfaithful husband, had an abortion, is lonely and a kind person, but the daughter's difficulties for the father of the family are only external irritants, extremely burdensome circumstances. Fascinated by a successful son-in-law, he does not see the despair of his daughter. So, he confesses to Yegor: “After all, I admire you as a work of my own hands, I’m proud of you!” - and he reacts with amazing callousness and aggressiveness to the fact that the unfortunate Iskra prays to the Lord in front of the icons in his office.
If in Yegor the “capercaillie” finds the affirmation of his ideals, then the children pose a threat to his way of life. Iskra's act is dangerous for him because his daughter can compromise his father: a Soviet official and his family are obliged to be atheists. Fear initiates coarse feelings, vulgar intentions in Sudakov: he demands from his “praying mantis” daughter to spit on the icons. He is also deaf to his son's request to buy a scarce heart medicine at the departmental pharmacy (“Don't load me with all sorts of nonsense!”), And the one to whom it was intended dies.
The nomenklatura world is cruel and cynical. The conversation between Sudakov and his son-in-law Yegor about Andrei Nikanorovich Khabalkin, a high-ranking official, whose “son strangled himself” is indicative. Sympathy for Khabalkin the father is drowned out by sympathy for Khabalkin the official, because, knowing well the unwritten laws of nomenklatura "mechanics", the interlocutors are convinced that after what happened his career will come to an end. As Yegor explains, “I didn’t manage to manage my own son, what kind of boss are you.” As a result, prudence triumphs over compassion: the son-in-law advises his father-in-law, for tactical reasons, not to appear at the funeral. Both in Sudakov and Yegor, inclinations worthy of looters are manifested: both are striving to get the place of Khabalkin.
Rozov not only shows morally degraded people, modern " dead Souls", but also creates a cumulative image of a vicious social system. Officials are mutually obliged to each other, each request entails a chain of subsequent ones. In order to intervene in the distribution of warrants for living space in a departmental building, it is necessary for someone to arrange a ticket to Karlovy Vary, and in order to get this ticket, you need to “push” someone’s nephew into graduate school ... Sudakov calls this interdependence “the second signal system”. The first, obviously, refers to the obligatory telephone number in those days in every department. signaling system civil defense. Sometimes a feeling of pity for a person in trouble wakes up in Sudakov, but the good beginning inherent in his nature is suppressed by the whole way of life of a Soviet official: he is used to this life and does not want another.
Sudakov's indifference to people and his downright selfless participation in service rituals, career conventions are exaggeratedly developed in his son-in-law Yegor Yasyunin. For Yegor, as, indeed, for the new generation of officials in general, Sudakov is already archaism, his behavior is "burdened with conventions." “Yesterday's roast”, “junk - it is junk” - this is how a young colleague of Yegor Zolotarev speaks about the “grouse”. Both Yegor and Zolotarev are officials of the coming pre-perestroika 80s, who have a highly developed self-preservation instinct: they will survive any social upheaval.
A virtuoso careerist, prudent and cold-blooded, Yasyunin in the system of characters with with good reason claims the role of an absolute villain who does not know reflections, doubts and passions. The fundamental similarity between the dramaturgy of Ostrovsky and Rozov, noted in criticism, also lies in the fact that moral character many of their characters are defined initially, before they appear on the stage.
Sudakov's son-in-law is guided by principles that help him build his prosperous world and break through to the heights of his career. One of these principles is “one must learn to refuse”, the other is “a feeling of gratitude degrades a person, makes him a slave of this gratitude”. In the years when social background had a very significant significance, and in statistical reports on one reason or another, the percentages belonging to workers, collective farmers or intellectuals were certainly indicated, Yegor - the "great Ryazan", according to Prov's ironic description - used his biography as a means to achieve the goal, becoming a kind of exhibit of the Soviet democracy. Sudakov shows him to a foreign guest as the son of a Ryazan collective farmer working in the international field.
Yegor's biography - no matter whether real or invented by him - contributes to his successful promotion. The unsettled life “in a hostel, in a barracks” with his father, who came to Moscow to work, developed in him natural ambition, a desire for success, and ultimately for power. It is a typical product of the social paradoxes of society, the ideology of those years, hypocrisy as a fact of state morality: “At school, everything is about high matters - ideas, Komsomol enthusiasm, duty to the Motherland, and so on, but I will return to the barracks, and in my eyes such a different academy climbs ... Studied furiously. Golden medal I needed air like life, like a ticket to the future. Luxurious for those times, the situation in the Sudakovs’ apartment only confirmed his intention to succeed in any way: “I only saw this in the movies then.”
Twenty-nine-year-old Yegor is a winner by nature. After graduating from school with a gold medal, having received a diploma with honors at the end of the university, having defended his Ph.D. Egor is a handsome man, he has an affair with the daughter of a big boss, on which his further ascent through the ranks depends. Once he appeared in the Sudakov family as a timid provincial youth and, with the subservience of Molchalin, was ready to serve everyone; at the end of the play, we learn how, using the favor of the father of his mistress, he takes the very post that his father-in-law dreamed of.
The young hero of the play, Prov Sudakov, feels with pain that not only in the family, but also outside the apartment, in the big adult world, the calculation inexorably wins that goodness is powerless, and the weak of this world will remain weak, on the side of the road along which Yegors walk in triumph. Youthful despair, however, is blunted by his shocking sarcasm. Prov is not capable of active confrontation, and his irony hides childish insecurity and weakness. He can quit beautiful phrase about social outrages, their roots and the need to pull out these roots, but he himself is not able to help anyone. The father's lifestyle pushes the hero to a senseless act, as childish and desperate as Oleg Savin's "rebellion" from the play "In Search of Joy". He commits his ridiculous trick with a briefcase snatched from a passerby in order to somehow resurrect a living human feeling in his father, to encourage him to reconsider life values, measured by no means only by the steps of the career ladder.
The problematics of the play grows from family to social, which is largely due to off-stage situations. Thus, the tragic story of the suicide of Khabalkin's son testifies to the confusion, loneliness of young people, their spiritual infantilism and defenselessness in the pragmatic world of their fathers, which gives the Sudakov family drama the status of a social illness. Prov recalls how, shortly before his death, Kolya Khabalkin told him a bitter maxim that the happiest are stones: “I would like to be a stone. To exist for millions of years, to see everything and not react to anything. The same problem of the tragic existence of a person in an absurd and "stone" world is revealed by the off-stage story of the son of Valentina Dmitrievna, a classmate of Sudakov Sr.: during a trip to Poland, Dima became interested in a Polish girl and, forgetting the leader's instructions, joined the group later than the deadline. Innocent today, the situation was regarded then as flagrant violation regime, mandatory standards of social behavior with all the ensuing consequences: the young man was not allowed to defend thesis. Prov's words: "I want the house to be clean" can be applied to many Soviet families, and ultimately to the whole country.
Pink boys are not those intellectuals, thinkers who are able to protect themselves from the shadowy sides of life with their mind and experience. In essence, they are still children who perceive the world mainly on emotional level That is why their actions are so impulsive. Andrei Averin and Oleg Savin were active, they felt reliable; No wonder the play "In Search of Joy" ended with Oleg's cheerful words: "Do not be afraid for us, mother!" Unlike them, both Prov Sudakov, and Kolya Khabalkin, and Dima are not independent, they need sympathy and help - and not because the generation has become so small, but because reality has become much more cynical.
Rozov shows how heterogeneous the youth of that time was. Student Ariadne, Egor's mistress, is a materialistic creature, a worthy daughter of a high-ranking father. Seducing Yegor, she bluntly tells him: “I don’t understand what keeps you here. Ours is smarter." In contrast, Prova's friend Zoya cherishes, above all, eternal life values, she is able to spiritually resist the diseases of society, and even her own difficulties: “My father is in prison, my mother drinks often, but I understand her ... I love life and I want to teach children. I will teach them to love life ... "
Rozov, with his inherent heightened sense of time, widely and fully demonstrates to us the polyphonic young world - both romantic, and spiritually tired, and pragmatic; its representatives will have to approve or refute those social and moral principles, which will declare themselves at the turn of the 80s - 90s and radically change Russia.
Dramatic family and work ups and downs encourage the “capercaillie” Sudakov to hear the world in a new way, the true and false values of his environment are revealed to him. Let us recall Gogol's mayor from The Inspector General: in the finale, this personality quickly turns from comic into almost tragic. On last pages“Capercaillie Nests” satirical features in the image of Sudakov become thinner, decrease and are replaced by tragic ones: he is betrayed, he is not needed by Yasyunin and Zolotarev, his daughter is deceived by her husband, his son ends up in the police ... “We live well ...” - this familiar phrase , addressed to the next foreign visitors, he pronounces in the finale in a trembling voice, hoarsely, swallowing tears.
And yet by by and large Sudakov's defeat is not a tragedy for the author. If at the beginning of the play the Italian guest remarks about some disorder in the Sudakovs’ apartment: “... it’s good, it feels like people live here, not things,” then at the end this judgment stranger is confirmed: in the head of the family awakens alive soul. The finale of the Capercaillie's Nest is elegiac. It does not have the optimism of Rozov's previous plays, there is no sloganism, no one goes to Siberia, no one talks about the onset of a new life, but a bright calm appears in the souls of the heroes: the door is being nailed to Yegor's side, he is now only a neighbor for his former relatives; Sudakov has a need to meet with old comrades whom he has not seen for twenty years; and the final scene of yet another visit of foreign guests, who pray “with their own ritual gestures” on the black masks of Sudak's office, is even colored with humor. The combination of comic, lyrical, encouraging at the end of the play creates a feeling of a foreshadowing of the new in the life of the family, although this new, in general, is a well-forgotten old, eternal and true.
The author's mournful thought about moral degradation society, about the impotence of a person to change anything in the current system social relations with new artistic power sounded in the play "Boar", written in 1981, but saw the light only at the beginning of perestroika - in 1987. The hero of the play - Alexei Kashin is about eighteen years old, which he is in a closed family world He lived quite well, calmly, relying on the ideals of goodness. However, those were only illusions. Having learned that his high-ranking father, a representative of the Soviet elite, is a thief, a criminal, Alexei immediately matures morally, gets rid of youthful infantilism, becomes a responsible person who is ashamed to live in dishonor. In contrast to Andrei Averin, whose final energetic word "Let's go!" affirmed the hero's faith in his viability, in spiritual forces, the hero of "Boar" shortly after the words: "The main thing is to live! The most precious thing for a person is life ... ”- takes a gun and leaves the house, pronouncing a merciless sentence on himself. If the play "Good afternoon!" ended with a fatherly peppy parting word: “Let him look!”, then the father of Alexei Kashin, who took away all the meaning of existence from his son, pushes him to death.
In 1989, Rozov created the play "At Home" - about people who returned from afghan war, as well as the comedy "Hidden Spring", showing mores in the environment creative intelligentsia. The theme of the artist, his relationship with the world are dedicated to autobiographical prose Rozov "Journey to different sides"(1987) and the play" Hoffmann "(1991).
Each decade of the second half of the 20th century gave birth to its own hero of the time - and he became the hero of Rozov's plays. In the 90s, new names announced themselves in the domestic dramaturgy, new plays appeared. However, a name has not yet been sounded that would become pinky symbolic at the turn of two centuries. Rozov's dramaturgy never needed free spatio-temporal spaces, the action in his plays rarely went beyond one apartment, one family with its more or less settled, measured existence and was limited to several days, maximum - weeks. But it was he, a playwright with amazing creative intuition, with his intimate, exclusively personal vision of topical social and ethical problems, who managed to reflect in his work the intellectual, moral, emotional experience of young contemporaries who once believed romantically in goodness, but once felt yourself in a desperate, hopeless situation. Like real great master, Rozov created his artistic tradition, if not to say - a school, and there is no doubt that in the coming new century this tradition will have its powerful impact on dramaturgy and theater. Yes, and his plays will be in demand more than once in our fast-flowing life.
B. Bugrov
Good time!
COMEDY IN FOUR ACTS, FIVE PICTURES
Characters
Petr Ivanovich Averin, doctor biological sciences, 50 years.
Anastasia Efremovna, his wife, 48 years old. Andrei, their son, 17 years old.
Arkady, their son, artist, 28 years old.
Alexey, cousin of Andrey and Arkady, 18 years old.
Galya Davydova
Vadim Rozvalov
Andrey's comrades, who had just finished tenth grade.
Katya Sorokina
Afanasy Kabanov
Alexei's comrades, who had also just graduated from tenth grade.
Masha Polyakova, photographer, 26 years old.
Act one
Dining-living room in the Averins' apartment. This is an apartment in a new building. Furnished with good quality furniture for the most part new, but there are also antiques, such as a large clock, standing on the left, against the wall. Piano. Chandelier. Spacious, clean. There is a balcony. Runs out of the next room Andrey with a tie in hand. Behind him, in a tank top, in socks, holding open book, runs Arkady.
Arkady. Put it down, do you hear?
Andrey. Don't cry, father is busy. Quiet!
Arkady. I said give it back!
Andrey. I'll eat it, right?
Arkady. Give it to me!
Andrey. Masha gave?
Arkady. None of your business!
Andrey. Masha - here you are shaking! Hold on, greedy! (throws his tie on the chandelier.)
Arkady (takes out a tie). Party on the mind! If you pass the exams - then you run! You will remain without a specialty!
Andrey. You have learned ... An artist, they say! You play in some extras, it's ashamed to watch!
Arkady goes to his place.
(Screams after him.) Shame, shame on our family!
Arkady leaves. Andrei walked around the room, went up to the piano, without sitting down, plays with one finger "A big crocodile walked the streets ...". Having interrupted the game, closed the lid. He walked around the room again. Call. Andrei rushed to open the door. Returns with Masha.
Masha. He is busy?
Andrey. How? Lying on the bed and reading some theatrical memoirs. ( He goes to the door of his room.)
Masha. Don't say it's me.
Andrey (shouts). Artist, come to you!
Andrey. Come out and have a look. (Masha.) Now he will appear - he is lying in one T-shirt.
Masha. Why are you teasing him?
Andrey. It asks itself. Organically I can't stomach losers. They are always whining... Someone is holding them back...
Masha. Are you embarrassed for him?
Andrey. Brother after all ... Well, how does a person have no self-esteem? Sticks out in his theater ... And ... his business!
Masha. Undoubtedly. How are you spending your time?
Andrey. As always, sadness. Have you noticed, Masha, how longing is in our house?
Masha. No, I didn't notice.
Andrey. Yes, in appearance we have cleanliness, comfort ... Mother is trying. (Goes up to the table, fiddling with a large ashtray-shell.) What cuttlefish bought! For what? Nobody smokes in the house. He says - for the guests. Or hours. It's a pity you're late, they've kicked eight times now. Every time I shudder at night ... As a child, we lived with some relatives in Siberia, during the war. I don’t remember anything, only log walls and clocks… They ticked softly… They left something pleasant in my soul… And what about us? ( He waved his hand.) Sometimes I want to walk around our clean rooms and spit in all corners ... At least it was fun at school ... I wish the guys would come soon ...
Masha. Haven't you decided which institute to go to?
Andrey. Mother makes you go to the Higher technical name Bauman: they say - solidly. Why did she think that I would go there? Okay, I'll cut it off - I'll settle down in some other one.
Masha. And where would you like to go?
Andrey. Nowhere.
Masha. Well, don't you have a calling?
Andrey. Masha, in the ninth grade we were once asked in class: who wants to be who? Well, the guys answered, who thought what. So it's not all true. Fedka Kuskov, for example, said - a pilot. Why did he say? Yes, for bragging rights. And now he wants to stumble where it is easier to get. Volodya Tsepochkin answered even more savagely: no matter who you are, as long as you benefit the Motherland. And this Volodya was, is and will be a scoundrel of the first brand: he stuck and sipped! And then I honestly said: I don’t know. What has risen! “How, Komsomol! In the ninth grade - and does not know! Almost the whole school worked on it! So after all, for the rest of your life you can get disgusted with any vocation! ( He notices that Masha is looking at the door, waiting for Arkady to come out.) He is doing the toilet. Am I fed up?
Masha. Don't invent.
Andrey. Tell me, Masha, only, I beg you, honestly: you are a photographer; profession, frankly, not so hot - was that the limit of your dreams?
Masha (laughs). Of course not ... But by the will of fate, I became a photographer, and I like this job. Imagine even really like it.
Andrey (laughs). No, Masha, I don't.
Masha. Well, of course, at seventeen you all want to be great by all means. What if you turn out to be some ordinary mortal - an accountant, a pharmacist or a photographer?
Andrey(With heart). Will not work! ( Calmed down.) And what were your plans? What did you want to be?
Masha. A pianist, and certainly a famous one.
Andrey. Are you kidding?
Masha. Not at all.
Andrey. Play something.
Masha. I haven't played an instrument in two years.
Andrey. Why?
Arkady ( enters, greeting Masha). It's you?..
Masha. All in all.
Arkady (Andrey). Go clean up on your table - arranged a pigsty.
Andrey. On my table, I do what I want, but I can go out like that, without an excuse. (Masha.) It's nice to chat with you, you're not stupid... (Exits.)
Masha (laughs). Andryusha has become terribly important.
Arkady. There is little funny ... The blockhead is growing, in the head - porridge ...
Masha. It turns out I'm not vindictive. I went over all your arguments in my head, and did not understand why we should not meet again.
Arkady. I decided.
Masha. Firmly?
Arkady. Yes.
Masha. Finally?
Arkady. Yes.
Masha. Why?
Arkady. It's hard for me to tell you this, but if you want the full truth...
Masha. I'm thirsty!
Arkady. I do not love you.
Masha. Not true!
Arkady (laughs). Interesting... Well, I'm not up to love now. Can you understand this?
Masha. Perhaps, although with a stretch. Andryushka has a mess in his head, you say. Well, at his age it happens. And you? You can’t even imagine what you are becoming ... I brought visual aids… (She unfolds the bundle she came in with. There are two large photographs. She shows Arkadia.) Artist Averin four years ago - a laughing guy ... And now - the sour physiognomy of a middle-aged man ... I worked half the night ...
Arkady. Yesterday they distributed the roles in a new play. To me, again, nothing. And Vasya Myshkin again got the main one. In drama school, he did not show great abilities ...
Masha. Probably grown up.
Arkady. And I'm up...
Masha. Some move forward easily, Arkasha, others - difficultly, slowly ...
Arkady. Tell me more simply: you also consider me for mediocrity - why are you standing on ceremony?
Masha. Shall we go to the dog show tomorrow?
Arkady. Where?
Masha. To a dog show. They say such scary dogs, huge...
Arkady. You're interested?
Masha. Of course, you have to see what kind of dogs there are in the world.
Arkady. Imagine if one fine day all the dogs of the world die, I will remain absolutely indifferent.
Masha.. Oh, how furious you have become ... Do you remember, two years ago, like vagabonds, - where we just haven’t been with you!
Arkady. It was easier to look at life, was stupid.
Masha. And now?
Arkady. Anyway, I've grown up. Please stop smiling!
Masha.(With sadness). Arkasha, dear, don't be angry! It’s so hard for me that you’re so… You used to tell me about the theater as something bright, beautiful, light…
Arkady. Easy! Now, you confirm how stupid I was! Naive, ignorant...
Masha. Do you believe in your abilities?
Arkady (stubbornly). Yes I believe you.
Masha. This is the main thing, Arkasha. I read a very apt remark from some author: there are no ruined talents ...
Arkady. And you?
Masha is silent.
Arkady. Empty phrase. In our theater...
Masha. Don't talk about it, Arkasha.
Arkady. Yes Yes… ( Walked across the room. Pause.) Today I woke up at five in the morning, the sun was in the room ... I was lying, and for some reason it was easy, easy. And then thoughts crept in, I remembered everything ... I wanted to fall asleep and could not, tossed and turned until nine. ( Suitable for Masha.) Don't believe me... Of course, I really have changed. Very?
Masha is silent.
(Goes to the photographs, looks, puts it aside.) Very ... And this is said objectively. ( smiled.) I will leave the theatre.
Masha. For what?
Arkady. Yes, yes, I promise. And soon. I'll make one try and leave.
Masha. What try?
Arkady. I’m preparing a role, a big one… They let me… I’ll show myself and, if it’s unsuccessful, I’ll leave, you’ll see!..
Masha. When do you show up?
Arkady. I will not say. Viewing will be during the day, no outsiders will be allowed.
Masha. Or maybe not necessary, Arkasha? You play small roles. You play well. You have been mentioned in the newspapers more than once.
Arkady. Is that why I graduated from theater school, why was I born into the world? Please leave it easy for you to talk... You somehow adapted to life...
Masha. Adapted?
Arkady. Well, I got settled.
Masha. When misfortune happened to me, you came to me, kissed my hands and spoke, spoke, spoke ... How many days! Do you think I remember at least one your word? I didn't even think about you. I wanted to die then ... But I never allowed myself to be rude. (Went.)
Arkady. Masha!
Masha. Don't... You've lost your taste for life, you've begun to love yourself, and not art - that's it taking revenge on you! I have not adapted, but I live ... And much happier than you! (Exits.)
Arkady (walks quickly from corner to corner). It doesn't matter, it doesn't matter...
Petr Ivanovich (Entering, murmuring something under his breath.) Already in the theater?
Arkady. It's still early: me to the last act.
Petr Ivanovich. Stuffiness. (Opens the windows. Noticed the photographs left by Masha.) Well done. Artistically. What are you here so gloomy?
Arkady. Filmed as a joke.
Petr Ivanovich. Artist! What a villain he portrayed, and quite naturally! (I put down the photos.) Here is the canal! Little flower! No - just a thorn! He also asks riddles. Head cracking!
Arkady. Another find?
Petr Ivanovich. Yes! Our expedition to Asia discovered a new element of the Iranian flora. Well, you see, they found a plant that until now was known only in Iran. I sit and figure it out. Nikolai Afanasyevich will come - I will find out his thoughts.
Arkady. You are happy…
Petr Ivanovich. Perhaps ... A thorn - that's really a thorn! Get to the truth... Why don't you go to the periphery? If you don't succeed here, try your hand at another city.
Arkady. Do you think they'll welcome you with open arms? An actor of the lowest category - the temptation is small ...
Petr Ivanovich. Yes ... Somehow you are awkward at it ...
Arkady. This I myself know.
Petr Ivanovich. Have you made mistakes, Arkady? This happens. A person in his youth will go the wrong way, and then he repents all his life ... You were not mistaken? A?
Arkady. I have already thought about this topic.
Petr Ivanovich. Don't get mad, I'm being honest.
Arkady. Where did you get that I'm angry? And I do not repent, do you hear: I do not repent of anything!
Anastasia Efremovna (included). Learned about Andryusha. It is very difficult to get in, the influx is huge. I went to the Sazonovs, I wanted to ask Vasily Ivanovich. It turns out that he will not teach at Baumansky today. (Husband.) Petrusha, do you need anything?
Petr Ivanovich. No, I stayed too long, kneading the bones.
Anastasia Efremovna (seeing the photographs, Arcadia). Masha was?
Arkady. Yes.
Anastasia Efremovna. Not good, Arkady. If you decide to break up with a girl, you don’t need to turn her head.
Arkady. Mom, I told you - I'm not going to marry.
Anastasia Efremovna. What's more, it's not fair at all.
Petr Ivanovich. Undoubtedly.
Arkady. I asked Masha not to come...
Anastasia Efremovna. Did you come yourself? Very modern...
Pyotr Ivanovich laughs.
This, Petrusha, is rather sad.
Petr Ivanovich. No, I remembered: when we were still living in Irkutsk ... I went to fish for three kilometers, and suddenly - you say - I'm walking! In general, Arkady, it’s not good for a bean - it’s empty. You are twenty-eight years old...
Anastasia Efremovna. Starting a family with his salary, Petrusha, is unthinkable... Common sense says...
Petr Ivanovich. Nastenka, did we really get married, based on common sense? In my opinion, everything happened just the opposite. You remember! Please don't confuse the boy.
NEST
CHARACTERS
SUDAKOV STEPAN ALEKSEEVICH.
NATALYA GAVRILOVNA - his wife.
ISKRA - their daughter, 28 years old.
PROV - their son, 16 years old.
YASYUNIN GEORGY SAMSONOVICH (EGOR) - Iskra's husband.
KOROMYSLOVA ARIADNA FILIPPOVNA.
VALENTINA DMITRIEVNA - compatriot Sudakova ..
ZIRELLI.
JULIA - translator.
ZOYA is Prov's friend.
ZOLOTAREV - a colleague of Sudakov and Yasyunin.
VERA VASILYEVNA - Zoya's mother.
SONIA is a translator.
TWO NEGROS.
STEP ONE
In the Sudakovs' apartment. The dining room, furnished with solid furniture, and the office of the owner of the house, Stepan Alekseevich. The cabinet is interesting in that it is all lined and hung with outlandish objects. There are all kinds of figurines on the bookshelves and wardrobe, ebony masks, feathers of some unknown birds, an ostrich egg, a huge coconut, a dried human head of small sizes, a painted bow with a quiver and arrows, a stuffed animal of a small crocodile, a painted shield, sea shells and pieces of corals and a number of ancient Russian icons. A massive desk, a leather sofa temporarily converted into a bed, and an old high-backed armchair, what used to be called Voltairian.
In the dining room - Sudakov's daughter Iskra. She sits at the table and sorts through a large pile of letters, makes notes on them with a thick red-and-blue pencil, then staples them to the envelopes.
Sudakov's son Prov and the girl Zoya pass through the dining room into the office.
ZOYA (passing, to Spark). Hello.
Spark (looks away from the letter for a moment). Hello.
Prov and Zoya went into the office.
Zoya. Who is this?
Prov. Sister, Iskra.
Zoya. How?
Prov. Spark, I say. The name is Iskra.
Zoya (looking around the office). Gorgeous!
Prov. This is my father's office.
Zoya. Museum.
Prov. Souvenirs. father from different countries brings all sorts of things. And I collected icons. He says that ten years ago they were a craze.
3rd. Where does he work?
Prov. Somewhere in the field of work with foreigners.
ZOYA (continuing to look around the room). Wow!.. How many rooms do you have?
Prov. Six.
Zoya. Suitable.
Prov. Four of ours, and two - Iskra with her husband. We got it on the same site. They broke through the door inside and connected. It looks like there is only one apartment, but in fact there are two of them.
3rd. You have, go separate room?
Prov. By itself. There, the wallpaper is re-pasted, the ceiling is whitewashed. The pipe burst at the top. It got me wet! Finished by May 1st.
Zoya. Life, go, you have ...
Prov. In every house, under every roof... What? Your grief, your mice.
Zoya. What kind of mice do you have ... With fat, perhaps.
Prov. And what? Excess weight also a disease. Did you read in the papers?
Recommend diet, gymnastics, fasting days.
Zoya. Not unloading, but loading is necessary.
Prov. What to do - a satiety test ...
3rd. Did you get the medicine?
Prov. You see, father has no time. But they have it in the pharmacy, he will get it. And to whom is it?
Zoya. Girlfriend, Irka Skvorchkova. Her father arrives. He is old, of course, he will be fifty years old, but terribly kind. It stretches into a thread, and also helps some ancient aunt. She has a pension of thirty-five rubles.
Prov. Not greasy. It will get it ... But in general, I am against all these drugs.
Zoya. Why?
Prov. Average duration human life has increased, it is.
But after all, the life of not only decent people has increased, but also all sorts of reptiles. They, these bastards, live and are treated, treated and live, there is no end.
Zoya. What do you propose?
Prov. I don't offer anything. Just such a thought came to my mind one day.
Zoya (looking around bookshelves). Do you have Tsvetaeva?
Prov. Every decent house has Tsvetaeva, Pasternak and
Yuri Trifonov.
3rd. Do you have everything?
Prov. Except Khudinkov.
3rd. And who is it?
Prov. Khudinkov?
Zoya. Yes.
Prov. You don't know who Khudinkov is?
Zoya. No.
Prov. Wow! I really saved you.
Zoya. Yes, who is it?
Prov. What do they teach you in school? Ugh! Not ashamed?
Zoya. So you let me read it, and I'll find out.
Prov. We don't even have it. He happens only you know in what houses?
(He pointedly raised his finger.)
Zoya. Won't you tell me who?
Prov. No.
Zoya. No?
Prov. Kiss, I'll tell you.
Zoya. Please. (Kisses Prova.)
Prov. Well, who are you after that? Selling creature. There is no Khudinkov in the world. (After a pause.) Excuse me. I'm in a lousy mood, and I'm fooling around. A joke is an anchor of salvation, otherwise you will go to the bottom.
Zoya. What's wrong with you?
Prov. All kinds of events.
Zoya. Which?
Prov. outside of your interests. (Taking up a thick album.) Look, what passions. The Germans presented my father yesterday. Great and nightmare Bosch! (Looks at the album.)
Natalya Gavrilovna enters the dining room. She has a glass of orange juice in her hand.
NATALYA GAVRILOVNA [putting the glass on the table in front of Iskra].
Take a vitamin.
Spark. Thank you.
Natalya Gavrilovna. Look at me.
Spark (raises her head). What?
Natalya Gavrilovna. Did you cry again? Will subside.
Spark. Father will come home late, don't you know?
Natalya Gavrilovna. Probably late, he's having dinner with some
Spaniards or Italians. Why do you need him?
Spark (pointing to the letter). Here you can help through it.
Natalya Gavrilovna. You know he doesn't love and gets tired.
Spark. Simple.
Natalya Gavrilovna. Did you measure the temperature?
Spark. Yes, normal.
Natalya Gavrilovna. Do you want to take a walk?
Spark. Don't want.
Natalya Gavrilovna. And it should.
Spark. I'll figure it out. Accumulated.
Natalya Gavrilovna. Prov did not come?
Spark. He is there (nodding towards the office) with some young lady.
Natalya Gavrilovna. He drives hungry ... (I went to the office,
went in.)
Prov (Zoe). That's my mom.
Zoya. Hello. My name is Zoya.
Natalya Gavrilovna. And me - Natalya Gavrilovna.
(To his son..) Will you eat?
Prov. Bring me a sandwich.
Natalya Gavrilovna (Zoya). Are you and Provo in the same class?
Zoya. No, I'm in an ordinary school.
Natalya Gavrilovna. And I think I saw you somewhere.
Zoya. I you too. My mother sells in a stall near your house.
Yesterday you took lemons. I hung. Mother went out to smoke.
Viktor Sergeevich Rozov
In a good hour!; capercaillie nest
1913–2004
Heroes and time
According to the memoirs of Viktor Sergeevich Rozov, he was told a difficult, but interesting and happy life. And although he did not believe in predictions, he was forced to admit that in March 1949 they began to come true. The play "Her Friends", which the author himself self-critically assessed as "a very thin work", was accepted for staging in the Central children's theater. Until that time, the actor of the Kostroma theater, a graduate theater school Rozov has already passed many of the trials that have befallen his generation. At the very beginning of the war, twenty-eight years old, he went to the front as a militia, was seriously wounded. After recovering from his wound, he worked in the front-line theater, composing pieces for concert teams. After the war, Rozov continued his studies, in 1952 he graduated Literary Institute them. A. M. Gorky, in which he later began to teach, lead a seminar for beginner playwrights.
Rozov's plays - and there are about twenty of them - collectively reflected an entire era, but epic themes, unlike the dramaturgy of the war and post-war years, did not become dominant in his work. Rozov wrote about what the Russian woman wrote about classic literature, - O human feelings. He was a fan of the psychological style of Moscow Art Theater, and he managed to return to the stage, and to literature, the psychological drama. His professional interest was focused on the problems of personality, family, ethics, that is, on those eternal values who alone were able to humanize our pragmatic and cruel age.
The heroes of Rozov are direct and pure, in their attitude to the world, naturalness is invariably preserved. Being young and naive, they are always responsible for their decisions in some way unknown to the sophisticated mind. It is difficult for them in a prudent and decrepit society, it is not sweet and lonely for them even in own family. The Pink Boys - that's what they are usually called in critical works - entered the theater stage in the 50s, and it turned out that they were not so strange; on the contrary, they were recognized, the viewer was waiting for them and saw himself in them. Honest and kind, they, however, themselves needed sympathy, not finding it in surrounding reality. Psychological plays Rozov revealed those social diseases that were not customary to talk about and which were perceived by the then society as normal phenomena, as a way of life.
Already the first play by Rozov, The Serebriysky Family (1943), which was named “Forever Alive” when published in 1956, spoke about the inherent value of love, personal happiness in a tragic time for the country - the events took place during the Great Patriotic War. The heroic pathos, characteristic of the consciousness of people of that time, did not suppress the lyrical theme in the play. Moral compromises, opportunism was opposed true love. The play was based on the traditional antithesis, on which the plots of a great many works of Russian and foreign literature were built.
But Rozov complicated the intrigue, put the heroine in front of a choice, forced her to go down the path of illusions and disappointments. Volunteer Boris goes missing at the front, and his beloved girl Veronika does, as she herself admits, “something terrible”: saving herself, she marries the pianist Mark, Boris’s cousin. Perhaps, like Pushkin's Tatyana Larina once, after the loss of her beloved, "all lots are equal" and she tries to live according to the principle "the habit is given to us from above, it is a substitute for happiness."
However, love for Boris prevails over the instinct of self-preservation, and the spiritual purity of the heroine prevents further life together with the mercantile, cowardly Mark, for whom the meaning of existence is to survive at any, even the most immoral cost.
In 1957, the Moscow theater-studio Sovremennik opened its first season with a performance based on this play by Rozov directed by Oleg Yefremov. In the same year, director Mikhail Kalatozov and cameraman Sergei Urusevsky filmed based on this play, which received world recognition film "The Cranes Are Flying", awarded at the Cannes Film Festival the highest award- Palme d'Or.
Rozov was primarily concerned with the spiritual being of a young contemporary, penetration into the sphere of his thoughts, emotions, moods, searches, and it was here that he found the origins of dramatic conflicts, socially meaningful and philosophically generalized. Rozovsky plays (one of the critics rightly called them dramas of “the awakening and maturing moral force”) in the highest degree“attentive” to any moments that facilitate movement artistic thought inside and out of the human character.
When I went to the pre-premiere screening of the play “The Nest of the Capercaillie” by Viktor Rozov, I thought: “That’s why we don’t stage contemporaries, but plays from the shaggy Brezhnev times?! The play of 1978 is, consider, 40 years have passed - a terry century! And then I looked and realized that nothing had changed. The play is relevant to disgrace. Mutual responsibility of officials, careerists going over their heads, endless humiliation of "little people", obscurantism ... Except that the portraits on the walls have changed.
Staged a play Chamber theater. Stage director - Victoria Meshchaninova.
They say that in Brezhnev's time, "The Capercaillie's Nest" with great difficulty made its way to the stage through Soviet censorship. One of the best performances in Soviet time was a performance at the Moscow Theater of Satire, staged in 1980 by Valentin Pluchek. Later, a film-play was created on its basis. In Chelyabinsk, the play was also staged - on stage drama theater named after Naum Orlov. So this play is well known to theater-goers with experience.
The protagonist of the play is Stepan Sudakov, in the past kind and sympathetic, a front-line soldier with high ideals. Now he is "Capercaillie" - an employee of an important ministry, a party member committed to the "cause". He can easily decide other people's fates. Or not to decide - if it is not profitable, how to "forget".
Sudakov is bogged down in official intrigues, he is deaf to the mental pains of his children. The figure of the head of the family reflects the priorities of the Soviet way of life, the elite of society.
He is sure that his household should be happy that he created for them a "socialist paradise" - a six-room apartment, overseas trips, attributes of "philistine happiness" a collection of icons, a huge library with the "great and nightmarish" Bosch, Tsvetaeva, Pasternak on the shelves, "all sorts of things" brought to him from different countries.
"In every decent house there is Tsvetaeva, Pasternak and Yuri Trifonov."
The books of these writers were hard to find in the 1970s. And the value of the Sudakovs' home library is determined not by the number of books, but by their scarcity. Needless to say, such prestigious trifles as Bosch's album or sandwiches with sturgeon, which at that time could only be obtained in special rations.
But Sudakov, with all his newspaper slogans and insensitive attitude towards children, is still a lamb compared to the official of the "new generation" - his son-in-law Yegor Yesyunin. This is a rascal, so rascal.
One of his principles is “one must learn to refuse”, the other is “a feeling of gratitude degrades a person, makes him a slave of this gratitude”.
Once upon a time, Sudakov's daughter Iskra, out of pity, fed Egor with sandwiches, fell in love, and brought him into the house. He was a timid young man from Ryazan, ready to obsequiously please everyone. Sudakov "made" the crankcase son-in-law, and he "passed over the heads." Of course, he did not like Iskra, which everyone knew about (except Iskra herself).
The conversation between Sudakov and his son-in-law Yegor about Andrei Nikanorovich Khabalkin, a high-ranking official, whose “son strangled himself” is indicative. Sympathy for Khabalkin the father is drowned out by sympathy for Khabalkin the official, because, knowing well the unwritten laws of nomenklatura life, the interlocutors are convinced that after what happened his career will come to an end. As Yegor explains, “I didn’t manage to manage my own son, what kind of boss are you.” The son-in-law advises his father-in-law not to attend the funeral for tactical reasons. Both Yegor and Sudakov want to get the job of Khabalkin's official.
Egor, a worthy pupil of his father-in-law, starts an affair with the daughter of an even higher-ranking boss, promising her to leave his wife for the sake of a position - and receives the coveted position. In the person of Yegor and his colleague Vasya Zolotorev, we see new officials of pre-perestroika times who will get out everywhere and survive.
Honored Artist of the Russian Federation Mikhail Yakovlev played the role of Stepan Sudakov. Yegor was brilliantly played by artist Anton Rebro, and his character turned out to be so ungodly that he was disgusted literally from the first scenes. And when we find out that Yegor forced his unloved wife to have a second abortion, after Proshka we wanted to shout “God, make Yegor die!” (Alas, he did not die, because such always emerge).
Proshka (Prov) younger son Sudakov, an idealist, ready to help everyone. Looking at such heroes, faith in humanity returns. He is still capable of sincere feelings and actions. But he cannot resist the world of Sudakov and Yasyunin, so sarcasm and youthful rebellion remain.
A play without a happy ending. Makes you think not only about family tragedies but also about society, about values (their absence). About how the nomenklatura crushes ordinary people.
By the way, a very interesting find of the director - to start up a video sequence in the final significant events countries from the late 1980s to the present. These rallies with kumachs, the dances of a drunken Yeltsin, Putin's speeches and that same rally with a huge yellow duck.
The performance was a success. There were a couple of controversial moments, such as an incomprehensible hype in the hall, when the characters drink alcohol in one gulp, especially female characters. For some reason this is emphasized. But the audience giggles, which means the “find” was a success. I'm fine with smoking on stage, but some of my neighbors were outraged.
I conclude the post with great gratitude to the Progressive project Theater community, which allows bloggers and others like them to attend previews of all premiere performances.
Leonid Pavlovich comes to Fyodor. He is thirty-two years old, he is a graduate student, he earns well, his parents are now in China. Leonid takes care of Tanya. Gena, seeing him, wants to leave, but Oleg stops him to look at the fish, the aquarium with which is on the window. Departing from the window, Oleg jumps over the new desk, at which Fyodor allowed Tanya to study, and knocks over the bottle of ink. Ink floods the table. Oleg is horrified. He and Gena are trying in vain to wipe the puddle. Gena is going to take the blame, but Oleg does not agree: Lena must understand that he did it by accident.
Lena brings a sideboard. She beams, admires the thing and tells what she endured because of it. Oleg tries to talk to her, but she brushes it off, starts a conversation with Tanya about Leonid, persuades her to marry him, since he is a brilliant match. Oleg finally manages to tell everything. Before that, he takes the word from Lena that she will not scold him. But Lena, as if off the chain, breaks down, calls Oleg a “reptile” and a “hooligan”, and after learning that this happened because of the fish, she grabs the aquarium and throws it out the window. Oleg rushes after them into the yard, but does not have time: the cats eat the fish. Returning, weeping, he tears off the covers from the furniture, grabs the saber hanging over the sofa, and begins to cut things. Then he runs away. Gena and Kolya rush after him. Lena, like crazy, rushes from thing to thing. Fedor, confused, runs after her.
Some things are taken out. Lena is bad. Uncle Vasya, the Savins' neighbor, promises to fix the damaged furniture. Claudia Vasilievna is worried that Oleg has run away from home. Leonid and Tanya are left alone. Leonid uses the moment to once again remind Tanya of his feelings. Tanya does not listen to him: she needs to speak out. She remembers how amicably and happily they once lived. Now all this has changed, as Fedor, whom everyone loved very much, has changed. Tanya is interested in how Fedor is treated at work. Leonid says that their team is an eternal squabble, a struggle. Fedor "dances at the same height, wanting to take everything from her." He became envious. According to Leonid, Fedor develops his behavior in life. Tanya is shocked and disappointed.
Fedor tries to calm Lena. She reproaches her husband that he is accustomed to living in a "bughouse with a whole kagal", that he does not give a damn about her, that everyone insults and hates her, and that she does not want to live here for a single day. leaves. Fedor tries to justify Lena in front of his mother. But she only regrets that her son is becoming different, a tradesman, that he has long abandoned his "cherished" business and it is unlikely that he will have the strength to continue it. Says that good wife should take care of first human dignity her husband. Fyodor's name is Lena. The conversation is interrupted.
Oleg and Gennady arrive, who hid Oleg in his room until the scandal subsided. Gena is taken away by his father to go home. Fyodor and Lena enter. Lena tries to beat Oleg. Fedor separates them. When Lena leaves, Oleg says that he will give all the money for the furniture when he grows up, and notices that Fyodor is crying. Gena comes and gives Oleg a new aquarium. Oleg at first rejoices, but, remembering that the fish were bought for the stolen hundred, he refuses the gift.
Lena asks Leonid to let them live with Fedor until the fall. Leonidas agrees. Fedor is not happy about the move. Gena asks Fyodor for a loan of one hundred rubles. Lena refuses him, but under the persuasion of her husband, she still gives money. Gena brings her an accordion as a pledge.
When Gena and Tanya are left alone, he gives Tanya perfume and confesses his love. Tanya is surprised by Gena's eloquence. She invites him to have tea with his father before leaving. Unexpectedly, Gena confesses to his father that he stole money from him, and gives him a hundred. Oleg runs into the corridor and brings the aquarium donated by Gena, puts it in its place. There is another argument at the table. Claudia Vasilievna is sure that Lena sells the best for things human qualities that life is too short to leave everything you aspire to just to furnish an apartment. Tanya calls Lena a breakthrough. Lena says that they will never understand her and that it is better for them to live apart. Claudia Vasilievna against Fedya's move. Fedor hesitates, but under pressure from Lena and Leonid, he succumbs to them. He gives his mother his master manuscript and asks her to keep it.
Lapshin, in anger that Gena confessed about the money in front of everyone, wants to beat him, but for the first time, he resists him. Gena is stronger than his father and from that moment forbids him to beat himself and his mother. Lapshin is surprised and very proud of his son's behavior. Tanya calls Gena to next year to Moscow, promises to write. Leonid, Fedor and Lena leave.
Capercaillie nest. Drama (1978)
Sudakov's apartment in Moscow. Its owner - Stepan Alekseevich - serves somewhere in the field of work with foreigners. His son Prov is finishing school. The father wants him to enter MIMO. Daughter Iskra works for a newspaper in the letter department. She is twenty eight years old. She is married. Iskra's husband Georgy (Egor) Samsonovich Yesyunin works with her father.
Prov comes home with his friend Zoya. Zoya's mother is a saleswoman in a stall, and her father is in prison. Prov introduces Zoya to his mother Natalya Gavrilovna. She does not object to such an acquaintance of her son, she is more concerned about Iskra's condition - she has depression after a recent operation, besides, there are some problems with Yegor, which she does not talk about. Iskra takes to heart all the letters that come to the editor, trying to help everyone. Egor believes that you need to be able to refuse.
Stepan Alekseevich returns home with an Italian and an interpreter. The foreigner really wants to look at the life of a "simple Soviet family." Such guests are a common thing with the Sudakovs. After dinner and exchange of souvenirs, the foreigner leaves. Sudakov tells the family the story of his colleague Khabalkin: his son committed suicide. In addition to mental trauma, this means the end of his career for him. Sudakov believes that now he will be appointed to replace Khabalkin. There's a rise coming. I have to go to the funeral, but he has things to do, so it would be better for his wife or son to go there. Sudakov, in order to please his son-in-law, tells him that he could also be appointed to Khabalkin's place. He believes that Yegor will go far, over the years he can replace Koromyslov himself. He remembers how quiet, timid and helpful Yegor was when Iskra first brought him into the house.
Unexpectedly, Valentina Dmitrievna arrives. Sudakov hardly remembers that this is his school friend. She is not a Muscovite, she came with a request for help, she is in trouble: her youngest son, a fifth-year student at one of the Tomsk institutes, went to Poland with a group of students. There he fell in love with a Polish girl, did not come to spend the night in a hotel. Naturally, everything became known at the institute, and now Dima is not allowed to defend his diploma. Valentina Dmitrievna, crying, begs Sudakov to help Dima, because after this incident he withdrew into himself, walks gloomy, and she is afraid for him. Sudakov promises to help. Valentina Dmitrievna leaves, leaving a school photo as a keepsake.
Spark goes out for a little walk. Natalya Gavrilovna tells her husband that it seems to her that Yegor is going to leave their house - to leave Iskra. Sudakov is sure that this is all nonsense. He goes to himself.
Comes very interesting girl. Ego Ariadna Koromyslov. She came to Yegor under the pretext of preparing term paper. Natalya Gavrilovna leaves them alone. This is the same girl for whom Yegor is thinking of leaving his wife. Yegor tells Ariadne about his past. From childhood, he sought to "crawl up", "break out into the people." And here she is - Iskra. Egor has always been half-starved, almost a beggar, and suddenly there is an opportunity to enter such a family. And of course, he could not miss this opportunity. He marries Iskra. Ariadne wants Yegor to tell his wife everything directly and go to her. Egor promises. Prov catches them kissing. Ariadne leaves. Prov gives Yegor his word not to tell anyone.
Spark returns from a walk. Avoids her husband. Egor thinks that Prov told her something. Iskra goes to his father's office, where he keeps a collection of icons, kneels in front of the icons, and whispers something. Yegor notices this, goes after her father. Sudakov makes a scandal, yells at his daughter. He is afraid that someone will find out that his daughter is praying - then the end of his career. Tries to make her daughter spit on the icons. And here Natalya Gavrilovna cannot stand it. She forces her husband to shut up, and Sudakov obeys. He knows that his wife is Strong woman, strong-willed (from the war she has a medal for courage and two military orders). Natalya Gavrilovna takes Iskra away. Prov kneels before the icons and asks Yegor to die.
May Day morning. Valentina Dmitrievna sent a congratulatory telegram. Dima is not allowed to defend. Prov reproaches his father that he did not help. Yegor says that it was not necessary to violate discipline. The phone rings. Prov picks up the phone. This is Zoya. Prov is going to leave. The father asks who he is going to. Then Prov tells what kind of person Zoya is, from what family. Sudakov is furious. He forbids Prov to communicate with her, but he leaves. Natalya Gavrilovna defends them: she likes the girl. Reminds her husband of Kolya Khabalkin. Zolotarev arrives. This is a young man from Sudakov's work. Zolotarev congratulates Yegor on his appointment to Khabalkin's place. Sudakov has a bad heart: he did not expect Yegor to bypass him at work, and even on the sly. He and his wife move to another room.
Doorbell. The spark opens and returns with Ariadna Koromyslova. Ariadna tells Iskra that Yegor no longer wants to live with them, but wants to marry her, that he never loved Iskra. Iskra calmly listens to all this and warns Ariadne to beware of Yegor: he will wean her from loving everything that she loves now, and if her father’s boss has a daughter, he will calmly exchange Ariadne for her, if it’s better for him. careers. At parting, she warns Ariadne that they will not have children: Yegor recently persuaded her to have a second abortion. Ariadne runs away, asking him not to tell Yegor that she was here.
Enter Sudakov. Natalya Gavrilovna tells him that they had a daughter, Koromyslova, whom Yegor proposed to. For Sudakov, this is a huge shock. Iskra is going to fly to Tomsk to help Valentina Dmitrievna. In the meantime, she wants to move into her parents' rooms, and board up the entrance to Yegor's half.
The phone rings. Sudakov is told that Prov was taken to the police station because he stole some briefcase. Zoya, who came, says that her mother went to Prova to help out. Indeed, soon Vera Vasilievna brings Prov. At the police station, she knows everyone, and he is released under her honestly. Sudakov believes that Prov got into the police on purpose to annoy his father. leaves. Prov says he did it so as not to end up like Kolya Khabalkin. They studied together. That day, Kolya wanted to say something to Prov, but the conversation did not work out. Now Prov blames himself for this.
Prov, Zoya, and Natalya Gavrilovna are carrying Iskra's belongings to them. Egor arrives. He wants to talk to Sudakov about his appointment, but no one wants to talk to him, they don't notice him. Sudakov and his wife are going to visit old friends. At this time, two Negroes with an interpreter come to them. Noticing the black African masks that Sudakov hung instead of icons, the blacks begin to pray.
Viktor Sergeevich Rozov b. 1913
Looking for joy. Comedy (1957)
Capercaillie nest. Drama (1978)
