(Suvorovskaya sq., 2)

Comedy in 2 acts (2h50m)

Wolves and sheep

Ticket price: 1100-2500 rubles
The cost of one ticket includes reservation and delivery services.
Specify the exact cost and availability of tickets by phone from the site. Tickets are available.

Duration: 2 hours 55 minutes

Comedy in 2 acts

It is no secret that the comedies of the Russian classic Alexander Nikolayevich Ostrovsky sound absolutely modern in our time. Life today, with its changes in views and conditions caused by the ever new demands of reality, is presented in the best possible way in the plays of Ostrovsky, one of the most repertoire playwrights of the current Russian stage. For stage director Boris Morozov, the comedy "Sheep and Wolves" is the seventh appeal to the work of the Russian classic. Witty, ironic, farcically funny, at the same time full of internal tension and wisdom, written in a bright, juicy, aphoristic language, this play by Ostrovsky attracted Morozov, including its topicality and, of course, the universality of what is happening in it. The relevance of "Sheep and Wolves", which fully reflects the moral illnesses and acute social conflicts of our time, the tension of modern life, disharmony in its feeling, and at the same time its petrota, unpredictability in unexpected vaudeville twists of fate, - revealed by the director in a bright, colorful, original, original, psychologically precisely motivated way. In this production of "Wolves and Sheep" the division of the world into executioners and victims, according to the director, is very conditional. In each person there is something from a "wolf" and from a "sheep", therefore, depending on the situation, a person appears in his various hypostases. In the performance, no one wins - neither "sheep", nor even "wolves", since in fact a person is born for a different life. The multicolor, diversity of life and the possibilities inherent in it are indicated by the harmony of colors in the scenography of Iosif Sumbatashvili. Composer Ruben Zatikyan in his music, captivatingly beautiful, reminiscent of the charm and splendor of the distant 19th century, at the same time impetuous, full of dissonances, galloping like the current 21st century, finds the exact musical characteristics of all comedy characters. A.N. Ostrovsky, as you know. knew the theater well and wrote wonderful roles for actors and actresses. It will take more than one page to list that magnificent "star" acting gallery of predecessors who brilliantly embodied the heroes of Ostrovsky's plays on the stage of the past and present. The performance of the Army Theater "Wolves and Sheep" continues this outstanding acting gallery and presents a whole scattering of virtuoso roles played by both mature stage masters and young, but already well-known talented theater artists.

Stage director - Boris Morozov
Composer - Ruben Zatikyan
Set Designer - Iosif Sumbatashvili
Costume designer - Alena Sidorina
Lighting designer - Anatoly Remizov
Director - Oleg Burdin
Director's assistant - Valery Abramov

The performance includes:
Murzavetskaya Meropia Davydovna - ,
Murzavetsky Apollon Viktorovich - ,
Glafira Alekseevna - Anastasia Busygina,

To the 185th anniversary of the birth of A.N. Ostrovsky.

It is no secret that the comedies of the Russian classic Alexander Nikolayevich Ostrovsky sound absolutely modern in our time. Life today, with its changes in outlook and situation, caused by the ever new demands of reality, is presented in the best possible way in the plays of Ostrovsky, one of the most repertoire playwrights of the current national stage.

For stage director Boris Morozov, the comedy "Sheep and Wolves" is the seventh appeal to the work of the Russian classic. Witty, ironic, farcically funny, at the same time full of inner tension and wisdom, written in a bright, juicy, aphoristic language, this play by Ostrovsky attracted Morozov, including its topicality and, of course, the universality of what is happening in it.

The relevance of "Sheep and Wolves", which fully reflects the moral illnesses and acute social conflicts of our time, the tension of modern life, disharmony in its feeling, and at the same time its diversity, unpredictability in unexpected, downright vaudeville twists of fate , - are revealed by the director in a bright, colorful, original, original, psychologically precisely motivated way.

In this production of "Wolves and Sheep" the division of the world into executioners and victims, according to the director, is very conditional. In each person there is something from a "wolf" and from a "sheep", therefore, depending on the situation, a person appears in his various hypostases. In the performance, no one wins - neither "sheep", nor even "wolves", since in fact a person is born for a different life.

The multicolor, diversity of life and the possibilities inherent in it are indicated by the harmony of colors in the scenography of Iosif Sumbatashvili. Composer Ruben Zatikyan in his music, captivatingly beautiful, reminiscent of the charm and splendor of the distant 19th century, at the same time impetuous, full of dissonances, galloping, like the current 21st century, finds the exact musical characteristics of all comedy characters.

A.N. Ostrovsky, as you know, knew the theater well and wrote wonderful roles for actors and actresses. It will take more than one page to list that magnificent "star" acting gallery of predecessors who brilliantly embodied the heroes of Ostrovsky's plays on the stage of the past and present. The performance of the Army Theater "Wolves and Sheep" continues this outstanding acting gallery and presents a whole scattering of virtuoso roles played by both mature stage masters and young, but already well-known talented theater artists.

Stage director - Boris Morozov
Composer - Ruben Zatikyan
Set Designer - Iosif Sumbatashvili
Costume designer - Alena Sidorina
Lighting designer - Anatoly Remizov
Cast: Alina Pokrovskaya / Larisa Golubkina, Nikolai Lazarev / Sergey Fedyushkin, Tatyana Morozova / Anastasia Busygina, Lyudmila Tatarova / Natalia Aristova / Natalya Kursevich, Olga Dzisko / Maria Skuratova, Konstantin Deniskin, Valery Abramov / Alexander Dik and others.

The architects Alabyan and Simbirtsev are to blame for everything. The very idea of ​​building the temple of Melpomene in the form of a giant star is quite positive, somewhere even intoxicating. But the 1000 m2 stage designed in it clearly proves the ignorance and misunderstanding of the theater as such by these ambitious people. Why, it would seem, this inhumanly empty space was loved by its first master, the outstanding Soviet director A.D. Popov, so by the end of his twenty-year stay here he sadly said: eat."

For the last 13 seasons, the leader Morozov has been trying to cope with the melon record holder. According to the warehouse of his talent, this is an artist of a deep psychological batch, who knows a special sense in the subtlest spiritual overflows, in all these Stanislav loops-hooks. No matter how well-wishers persuaded him - “You, Boris Afanasyevich, at least once somehow narrowed down - the audience, or something, to sit on the stage in accordance with the generally accepted trend,” he did not. Over and over again, he challenges a superior opponent, circles around him like a fly in sparring with a heavyweight: sometimes he will get a pair of successful right hooks, a spectacular uppercut will be noted, only by a knockout (as in the case of the legendary Cyrano at the Stanislavsky Theater with Shakurov in the title role) here and doesn't smell.

"Sheep and Wolves" can be mistaken for a not entirely convincing victory on points, and this outcome is predictable. The play is already almost chamber-like (neither the spills of the wide Mother Volga, nor the flood of feelings, nor the merchant's tyrant revelry), and after the performance at the "fomenoks" it completely established itself in the minds as something openwork, watercolor, airy. Try to fill the local cubic capacity with such contents. Given the fact that the relevance of the work - counterfeit bills, financial scams, debts - the director proudly does not pay attention, preferring to bet on His Majesty the actor.

Majesties behave differently. Someone, believing that he has already mastered his own tankodrome a long time ago, tries to pass the role easily, “on the class” - but this time the trick fails, there is a lack of nuance. Someone, on the contrary, feeling their own disproportion to the stage, begins to desperately comedy and get out. In any case, you see neither wolves nor sheep, but more and more insects that require constant tension of the optic nerve. Bumblebees and termites.

But the amazing thing is, at some point something big and real suddenly begins to grow in this hive. The line of Glafira (Tatiana Morozova) and Lynyaev (Valery Abramov), for example, is excellently drawn. A strange decadent kink suddenly begins to gleam at Murzavetskaya - Alina Pokrovskaya. And in the second cast, this role is played by Larisa Golubkina and, as eyewitnesses say, in a different and also curious way. This performance, like much of what happens at the Theater of the Russian Army, is actually worth watching, although this process can be likened to Tolstoy's famous saying about the Jew ("it's hard to love a Jew, but you have to"). Because in the colossus built by Alabyan and Simbirtsev in the form of a star, sometimes the most incredible things happen, including delightful optical illusions. So, it happens, you look at someone - well, a sheep by a sheep, and then you take a closer look - a pure wolf.

Flock of developed capitalism

"Wolves and Sheep" at the Theater of the Russian Army

The Theater of the Russian Army released a premiere for the professional holiday of Melpomene servants, Theater Day. Artistic director Boris Morozov staged Alexander Ostrovsky's comedy "Sheep and Wolves". The relevance of the play, according to MARINA SHIMADINA, came into conflict with the old-fashioned performance.

Counterfeit bills, forgeries, extortion, all kinds of scams - this comedy by Ostrovsky has everything to stage it as an acutely modern, topical performance. Manufacturers of bestsellers such as "1001 ways to lasso a husband" could take note of a couple more proven tricks from Glafira Alekseevna, and the newly-minted Berkutovs could take an express internship on the topic "How to effectively negotiate to leave partners in the cold." But director Boris Morozov is not attracted by the dubious, in his opinion, fame of an innovator. "Ostrovsky is so relevant and modern today that there is no need to apply modernist stage technology to adapt it to the 21st century," he explained to journalists before the dress rehearsal.

But at the first moment when the curtain rose, one might have thought that he was talking about some other performance. The scenery, made by the artist Iosif Sumbatashvili in the spirit of minimalism, looked so fresh that one could imagine anything in them, except for Ostrovsky, the traditional writer of everyday life, as tradition dictates. After all, it is customary for us: if Ostrovsky, then necessarily samovars, chests, stoves, chests of drawers, sideboards, whatnots - in short, a complete set from a flea market. There is none of that here. A frighteningly empty vast space, covered from top to bottom with something emerald green, like an ivy-covered garden arbor that has grown to incredible proportions. To cross it, the actors have to do a whole walk. But the audience, as in a fashion show, can carefully consider the spectacular costumes designed by Alena Sidorina.

Trying to somehow master the gigantic stage of the Theater of the Russian Army, designed not for people, but for tanks, the artist divided the stage into two parts with a transparent rope curtain. In the foreground are the rooms of the enterprising landowner Murzavetskaya, in the background are the chambers of the rich widow Kupavina. Depending on the scene, these conditional premises are interchanged, and it turns out that the "wolf's lair" differs from the boudoir of "holy innocence" only in the style of the chairs, but in essence they are two sides of the same coin. It seems that in such free, spacious scenery, free from details, it is impossible to play the same way as ten, twenty, thirty years ago. But it turns out you can. You can't say the actors are bad. They play normally, some of them play very decently, especially young people are happy. For example, Konstantin Deniskin (Vukol Chugunov), as they say, lives in the role. Such a round, petty, petty demon crumbles in front of everyone with a sugary smile - you can see from a mile away that he is a rogue. Or Anastasia Busygina in the role of the modest pretender Glafira: she plays her heroine with lightning-fast transitions from innocent coquetry to passionate confessions so skillfully that she is able to seduce not only the convinced bachelor Lynyaev, but the entire male half of the hall.

The central role of Meropa Davydovna Murzavetskaya is played in turn by two grand ladies of the Army Theater - Alina Pokrovskaya and Larisa Golubkina. Boris Morozov released a play with two equal casts and admitted that he got two different productions. In the one that I happened to see, Larisa Golubkina plays a strong, powerful and authoritarian woman. She would govern the province, and not a miserable estate. It seems that the childless aunt began to arrange the fate of her stupid nephew only from an excess of energy. This Murzavetskaya loves life, sins a lot and with pleasure, is not afraid of God or the devil, but only one regional prosecutor. And this is perhaps the only thing that distinguishes her from modern swindlers. It is all the more offensive (and this applies not only to the role of Murzavetskaya) that modern allusions were not only not emphasized, but, on the contrary, carefully hidden under a deliberately conservative manner of acting.

In Ostrovsky's play there is no hero who could be opposed to narcissistic peacocks and swindlers of various calibers, differing from each other only in the degree of dexterity. Everything is good here. And the "sheep" put their heads in their toothy mouths not for fundamental moral reasons, but because there was not enough intelligence to become "wolves". So modern viewers are unlikely to want to associate themselves with losers, whom there is nothing to feel sorry for. In addition, the "sheep" in the Army Theater, as usual, turned out to be much less expressive. Tradition is tradition.

Culture, April 3, 2008

Marina Gaevskaya

Plot with natural selection

"Wolves and Sheep" in TsATRA

In the performance of the Central Theater of the Russian Army "Wolves and Sheep" (stage director Boris Morozov), timed to coincide with the 185th anniversary of the birth of A.N. Ostrovsky, the gun shoots not only at the end, but also at the very beginning of the action, as if giving a signal for general hunting. And not only the "wolves" strive to eat the "sheep", but the "sheep" are sometimes not averse to snatching a tastier piece. In the new production, the world, which lives according to the laws of sale and purchase and criminal lawlessness, is devoid of obvious signs of the time: there is neither the lush frivolity of the merchant Zamoskvorechie, nor the wretched luxury of today's bourgeois glamour. Heroes exist in some non-domestic space, although their costumes are quite consistent with the style of a bygone era. Against the backdrop of lush verdant vegetation that rises to the full height of the backdrop, only a few pieces of furniture are visible, which seem tiny in the huge empty space of the stage. The riot of nature makes us remember Chekhov's: "What beautiful trees, and, in essence, what a beautiful life should be around them!" But in the middle of the site there is also a kind of curtain, consisting of thick ropes, with which, if desired, you can easily "twist" gaping simpletons (stage designer Iosif Sumbatashvili).

Rigid modern rhythms are clearly felt both in the stage action itself and in the music of Ruben Zatikyan, who endows each of the characters with his own unique melody. At the same time, the directors do everything to protect their stage version from excessive heaviness or gloom. True, the unexpected lightness and emphasized gaiety of tone sometimes reduce the sharpness of the conflict. Consciously avoiding the usual social characteristics, the creators of the play try not to divide the heroes into wolves and sheep, looking for traits of both one and the other in each character. Of course, this approach does not always seem equally justified, although it certainly gives new shades to textbook characters.

So, Murzavetskaya (Alina Pokrovskaya), even outwardly, does not at all look like a strict hypocrite. Rather, we have before us an elegant lady who knows how to dress well and keep herself in society. She is smiling and cheerful, not devoid of coquettish slyness and charming femininity, perhaps even excessive for such a tough heroine, absolutely confident in her own impunity and the strength of her power. Although, of course, this Meropa Davydovna is endowed with will, enterprise and business acumen. But, perhaps, the main thing in it is the unbridled excitement, which makes Murzavetskaya, forgetting about caution, rush into another scam, being carried away by the process itself almost more than the result. In contrast, the petty swindler Chugunov (Konstantin Deniskin) is in constant fear and even puts a double meaning into the usual sentence "sit down". It seems that he is really sincerely touched by the trust of a naive widow or the gentle tone of the hostess. This miserable rogue has not yet completely lost his innocence, and therefore is initially doomed to become the prey of larger predators.

The character, through whose fault Murzavetskaya and Chugunov were so seriously “pierced”, is indeed a kind of hybrid of a wolf and a sheep. After all, for the obligingly cowardly and at the same time arrogant extortionist Goretsky (Yuri Sazonov), the ability to do meanness is the main advantage, and venality is the only possible way to achieve prosperity. But the reckless scoundrel, absolutely sure that there will always be a buyer for his "talents", frivolously excludes the very real danger of being eaten. But in the no less careless Apollo (Nikolai Lazarev), perhaps only rude assertiveness and stubborn boorishness remained from wolf habits. He is clearly not inclined to cowardly servility, but he is not deprived of the gift of acting. This Murzavetsky pronounces his frivolous speeches with special inspiration and some kind of hussar excitement, cackling smugly over his own witticisms and proud of the terrifying French accent.

The attitude towards those who are usually referred to as wolves in the performance is also somewhat unexpected. Although, of course, the predatory grip of practical businessmen has not disappeared anywhere. In going ahead Glafira (Tatyana Morozova), perhaps, even added fanaticism and frenzied excitement in achieving the goal. And her blissful delight at the memory of the sweet Petersburg life leaves no doubt that another existence is like death for her. Always ready for battle, Glafira even utters a certain victory cry, having successfully completed the "hunt" for the rich man. After all, obviously, having worked hard, she quite professionally mastered all the tricks - from the meek look of a schoolgirl to the imperious gesture of a femme fatale or dashing "entry" under a blanket to a potential victim. That is why this Glafira is so rightfully proud of the achieved result. The much more experienced Berkutov (Nikolai Kozak) is no longer capable of such wild joy. His heart really went cold, and his feelings were replaced by cold calculation. This completely modern master of life is businesslike and unflappable, smart and practical, educated and outwardly handsome. He is impeccable in the art of flattery or blackmail, but it seems that he is already bored, achieving his goals without much difficulty.

However, the ease of these victories is also due to the fact that potential victims practically do not resist, and not only because of supple softness or naive mouthiness. Rustic laughter Kupavina (Lyudmila Tatarova), who complains that everywhere there are “alone calculations and not a drop of heart”, despite her apparent innocence at the right time, tenaciously grabs a promising businessman, whom she herself has long planned for her wife. And the imposingly imposing Lynyaev (Valery Abramov), although he is distinguished by old-fashioned decency and sublime romanticism, is not going to refuse a fun pastime at all. That is why he so quickly enters into the role of a suitor, falling for banal tricks and rushing after a pretty young lady very briskly and swiftly. This is probably why in the final both couples seem quite satisfied and happy - after all, everyone got what they wanted. True, in the end, everyone still has to pay: for some - the loss of freedom and state, for others - the loss of soul and heart. But it seems that such "trifles" of the heroes of the play are not very worried.

Wolves and sheep book tickets.

The Russian theater owes a huge breakthrough in the field of quality and content to the classic Alexander Ostrovsky. He modernized many features of the theater space. And, most importantly, he left as a legacy to his contemporaries productions that are relevant at all times. They fully apply performance Wolves and Sheep, tickets which you can purchase right now. He regularly goes to the famous theater of the Russian army. Located in a cozy corner of Moscow near the Catherine Park, it magnetically attracts theater-goers of all ages. And this is not surprising, because he has the largest stage in the capital and a talented troupe.

It has a large number of honorary cultural figures. And the artists play on the stage in such a way that it is impossible to tear yourself away from it. Buy tickets for the play Wolves and Sheep definitely worth it to spend some very exciting hours in the theatre. Each production of the theater is the result of serious work on the scenery, costumes, and script. As a result, during the presentation, each element works to create a strong impression. And this succeeds to the fullest, at least there have never been disappointed spectators in the theater of the Soviet army.

It strikes with its monumental style already in the spacious foyer, and in the hall it is able to deliver the strongest impressions. As for productions based on Ostrovsky's classical plays, they always look relevant. Tickets for the play Wolves and Sheep will allow you to see the provincial world of the seventies of the nineteenth century. However, the motives and phrases of the characters will strongly resemble the modern world. And all because the author studied society very well. And it, as you know, lives on the same rails.

Feeling the power of Ostrovsky's creativity

In this production, the audience will witness where hypocrisy, self-interest and insincerity in relations with people can lead a person. The writer did not show a completely happy ending in this story. But he made everything instructive. Tickets for Wolves and Sheep- this is a great opportunity to see a really serious theater. Everything in it is designed to the smallest detail, thanks to which the stage space comes to life every time and is able to completely absorb the viewer into its creative world. The Russian theater owes a lot to Alexander Ostrovsky.

And his works on stage still live and evoke strong emotions in people of all ages. Especially in this room. A large number of people are tempted to buy tickets to the theater of the Russian army. And it will help them booking tickets for Wolves and Sheep.

Tickets for the play Wolves and Sheep.