First, even before the closed curtain, the music of Faustas Latenas appears - deafening, like a flash of a light-noise grenade, like a meteorite explosion over Chelyabinsk. A shock of a sound wave - and silence. And a typical Tuminosov empty stage opens (scenography - Adomas Jacovskis). Almost empty. The predominant color is black. A life immersed in the night. B death.
And a full length mirror. Like a revived "black square". Swaying, drawing into itself, as if into a black hole, everyone who will be swept away from the stage ... This oscillating mirror is like an aged, blackened curtain from Lyubimov's Hamlet. He now lives in the backyard, but just as scary and relentless. And at the same time, there is a scenery on the stage that would be ideal for Konstantin Treplev's performance in The Seagull. (Chekhov’s “cherry” mood of parting with “old” Russia is very noticeable in EO Tuminas.) It seems that Nina Zarechnaya is about to appear and say: “Like a prisoner thrown into an empty deep well, I don’t know where I am and what awaits me. Cold, cold, cold. Empty, empty, empty. Scary, scary, scary ... (two red dots are shown against the background of the lake) Here comes my mighty enemy, the devil. I see his terrible, crimson eyes ... "
And there is ... Eugene Onegin. Creepy, infernal and old. Vengeful evil spirit.
Who lived and thought, he cannot
In the soul do not despise people;
Who felt, that worries
The ghost of the irretrievable days:
There are no more charms
That serpent of memories
That repentance gnaws.
These are the first words of the play. His keynote. “All lives, all lives, all lives, having completed a sad circle, faded away ...” Sergey Makovetsky's Onegin is a man tired of life. Which is also clearly completing its circle of life and can not get rid of the memories that gnaw at the soul. It is absolutely wrong to say: well, how, but where is the textbook beginning? - “My uncle had the most honest rules, when he fell seriously ill ...” Where is the memorized from school? - “What low deceit//To amuse the half-dead,//To straighten his pillows,//It is sad to bring medicine,//To sigh and think to yourself: //When the devil takes you!”
Here he is, this "uncle", in front of you! Onegin of Makovetsky is just that half-dead uncle waiting for the devil. The circle is closed. Everything is back to normal.
EO Tuminas is special. Everything here is a ghostly system of reflections and echoes. Here the second reality - the reflection in the mirror - is often more important than the first. Hue is more important than tone here. Who is real here - and who is a shadow, a vision? Who is there in the flesh, with veins and blood? Rather, we should talk about the "incorporeality" of the performance - all the numerous girls of the dance class (led by the brilliant Anna Antonova) are more naiads, mermaids, fairies than real dancers. And the same applies to their mistress, named in the program as a dance master, from which the seething Lyudmila Maksakova in every possible way denies, considering this definition too narrow, everyday. She is different, of course. Either a white, kind swan - Odette, then a black swan Odile - a messenger of death and a symbol of lost love (in the last scene). And sometimes she is either a kind old pilgrim, or a terrible black woman from Nord-Ost.
Therefore, I will say more: it is not the characters of Pushkin's novel that are brought to the stage, but their souls - incorporeal souls.
But still. We all know - "the cheerful name of Pushkin." Yes, and EO itself cannot be reproached for being especially gloomy - an "encyclopedia" cannot be gloomy. Why does Tuminas exclude everything light and lyrical, all these “gardens of the Lyceum” and drove to the “Summer Garden for a walk”, and leaves a deliberately gloomy palette? "Always frowning, silent, / / Angry and coldly jealous." This can be said not only about Onegin, but also about the whole performance.
It's time to say the most important thing. Conceptually, the performance is built around only one episode of the novel, being, in fact, a staging of only this small fragment of the fifth chapter. The basis of the whole performance, its semantic core, is the so-called "Tatiana's nightmare". And the point is not only that this dream is placed in one of the climactic scenes of EO Tuminas, where a real benefit performance awaits us for the great Yulia Borisova, in whose help Innokenty Smoktunovsky himself was sent from the higher spheres, but that the whole performance is built on this a dream that "sprouts" in almost every scene. From this dream all the threads stretch. After all, the gloomy, half-empty stage is not only a revived “black square” or a magical scenery for Treplev’s performance, but also a screensaver, a thickened atmosphere of those very “dream” lines: “And Tatyana has a wonderful dream. / / She dreams that she / / Is walking across a snowy glade,//Surrounded by a sad mist…” And further: “Two perches, glued together by an ice floe,//A trembling, disastrous footbridge…”
Further - in a dream - "a big, disheveled bear ..." "... he extended a paw with sharp claws to her." And this bear will pursue Tatyana (Olga Lerman) to the end, and no longer in a dream will take possession of her and make her his wife. This meeting will be materialized in the finale, in which Tatiana dances with a stuffed animal of a huge drill bear. Yes, and the Prince himself, whom Larina will marry - Yuri Shlykov, corpulent, with sideburns and with a ponderous, "proud", but clumsy gait - the spitting image of "General Toptygin" from Nekrasov's poem - doesn't it remind that bear from a terrible dream?
Further. Here Tatyana decides to peep through the door, behind which Onegin is surrounded by monsters: “And, curious, now// She opened the door a little...// Suddenly the wind blew, extinguishing// The fire of the night lamps.” But after all, Tuminas also stages the scene of Onegin's meeting with Tatiana in exactly the same way - with the wind and the hurricane!
And finally - the last lines of the dream: "suddenly Eugene / / He grabs a long knife, and in an instant / / Lensky is defeated." But that's how Tuminas deals with Lensky in the duel scene! There Onegin really did not kill, but stabbed Lensky!
As soon as the reviewers did not explain the two Onegin and two Lensky productions of Tuminas. One can, of course, assume (and this is also true!) that the director wanted to bring out the aged, wiser, aged Onegin in order to push him in his memories with the young Onegin (Viktor Dobronravov). And imagine not only the “novel” Lensky (Vasily Simonov), but also Lensky (Oleg Makarov), what he could have become if that duel had not happened.
But, in my opinion, the “split” of Onegin and Lensky is also the “consequences” of reading the novel in line with one episode alone. Young heroes - from a dream. And the elderly and the elderly are from the novel.
But this key dream for EO Tuminas precedes in the canonical text the scene of Christmas divination by Tatyana and Olga (Maria Volkova). For some reason, no one paid attention to the fact that the performance turned out to be aggressively pagan. I specifically asked many viewers: what are the actual features of the Orthodox entourage (and even something purely Christian) that define the deeply religious Pushkin era - icons, crosses, candles, lamps, prayers - they noticed in this performance. The answer is none. There, no one has ever crossed himself - even in the scene of the wedding of Tatyana and the Prince. In general, an unheard-of thing for a performance made according to the "encyclopedia" of the era! Just in that very scene of the betrothal, the lamp at the conditional altar is given to the audience only in reflection. It seems to be there, but it seems to be not. Before us is a churchless (non-church) world, absolutely atheistic and certainly not Orthodox at all. Despite the textbook "and flocks of jackdaws on the crosses" (in the novel, but not in the play). So it seems - they will bring a lampada to the forefront, someone will cross themselves - and the spell of demons, black people, Mephistopheles Onegin - will disappear and all the heroes, turning into monsters from Tatyana's terrible dream, will climb away from the theater temple, as from the church in Gogol's "Vie ".
But even here Rimas Tuminas did not falsify against the truth. As the Russian philosopher Ivan Ilyin wrote, Onegin’s trouble is that he “existed in a draft between heaven and hell, and his experience was the experience of life without God, without faith. God did not serve Onegin as a regulative or explanatory principle.
This motif: “Russia is the country where God was killed” popped into my head every time I thought about this or that important scene of the play. But this did not happen because Tuminas was trying to somehow illustrate the words of a modern researcher: “... in Onegin, the sprout of that atheism-demonism barely hatched, which then blossoms into a bright and terrible flower in the image of Stavrogin, sparkles with ominous colors on the canvases of the half-mad Vrubel , and even later, it will scatter the seeds of theomachic madness throughout almost the entire Russian text and across the expanses of the entire Russian land. They will rise like wild weeds of rabid hatred of God…” (Vladislav Bachinin). But because you constantly think about the power of the imagery of the director, who, seemingly without doing anything to modernize his performance, easily takes me out of a state of simple enthusiastic contemplation and skillfully “combs” my saddest “notches” related to the history of Russia all its post-Pushkin almost two hundred years.
Here, for example, is the first scene of Onegin's visit to the Larins' estate. How to betray the simplicity, but at the same time the sincerity of rural customs, the special homeliness and mercy of Larin's life? And they begin to continuously give Onegin lingonberry water to drink. But the detail mentioned by Pushkin here turns into a whole multi-episode epic: Yevgeny is brought one jug, another, a third - he drinks, but does not give up. Well, why, tell me, why do I recall here a scene from Sholokhov's "The Fate of a Man" (1), relating ... to a German concentration camp? Yes, and there the same check of the hero “for lice” takes place. But if Onegin is threatened only with an upset stomach (“I’m afraid: lingonberry water / / It wouldn’t hurt me”), then Sokolov is already threatened with death ...
And how to convey the simple-minded, slightly provincial, naive family holiday - Tatyana's name day? To become warm and familiar? And Olga appears with an accordion (of which, of course, Pushkin himself had never heard of) - like a crowd entertainer from Nikolai Gubenko's Life of Vacationers. Do you remember Rolan Bykov with the accordion?
Yes, and the concert itself at the name day is made funny and provocative - all the time you are waiting for Placido Domingo or Hvorostovsky, and over and over again all sorts of homegrown Kobzons and Trofimas appear.
And gradually you feel that all these associations cover the whole history of Russia, all its dark and bright sides. Here, for example, is the invented "Retired Hussar" performed by Vladimir Vdovichenkov, appearing "like a lawless comet / / In a circle of calculated luminaries." “Vdovichenkov invented an excellent role. A retired hussar with bristles (when half-drunk), more like General Charnot at the Grand Bazaar in Constantinople ”(Elena Dyakova).
Even the most innocent scenes in EO Tuminas somehow carry an incomprehensible trail of completely deadly associations. Here the girls get into the wagon and go to the brides fair in Moscow. But here we look inside - and before us appears ... the inside of some sort of Stolypin prison car. “Village girls are driven into a huge carriage, like prisoners in a heating truck, and they are driven into it as if into a coffin” (Roman Dolzhansky). “And it seems that not Tatyana, but all of Russia, set off along her exiled, eternal path in hopelessness” (Alena Karas). “The door of the “carriage” is boarded up, like that Chekhov’s house where Firs was forgotten” (Natalia Kaminskaya).
My God - what a horror! And all the girls went for the grooms! And so Tuminas has all three and a half hours!
And the parting scene with braids? In Moscow, girls cut off their beautiful hair to make them hairstyles according to the latest secular fashion. And with my perverted imagination, I imagine girls from the future women's battalion, which defended the Winter Palace in October 1917, to be tonsured soldiers ...
And the reception of realized metaphors! How amazingly the death of the father of the Larin sisters is conveyed. He stands, looks around, tries to catch the glances of those around him, but everyone looks away, and he understands that .. he becomes tangibly a stranger, moving away from everyone. But he does not want to leave, he resists a little, but still the accompanying spirits - the same Maksakova - strictly takes him by the hand and slowly leads him into darkness, into oblivion. Here it is the realization of a metaphor that replaces the wording "he died." Father Larina just “left”. He went to where you yourself understand ... This is brilliant!
In general, the skill of Tuminas is amazing. Here is the scene of Onegin courting Olga to spite Lensky. More recently, in another theater, I observed a scene of seduction. According to the play, a womanizer-lecher seduces a 14-year-old girl. And how terrible this scene is staged! There was an unbuttoned belt and almost lowered trousers and other things that were no less aesthetically unpleasant. And here, in front of the eyes of all honest people, Olga was almost abused - and at the same time there was no vulgarity, vulgar details and vulgar game. And this glove hanging from Olga’s mouth hanging like a used condom (fantasy, fantasy, my sick fantasy!) I will always remember ...
And what is the associative trail of the climactic scene of the duel! Firstly, when the seconds begin to trample down the duel clearing for a long time and methodically - and this is done with some kind of terrible thoroughness and gloomy force - well, it’s impossible not to invent horrors for yourself - from trampling down the ditch, with people thrown there still alive, to the simplest metaphor , symbolizing trampled Russia ... Secondly, as I have already said, Onegin does not kill here, but stabs Lensky to death. You can say - raises on a pitchfork (oh, here are all the peasant riots - from Pugachev to the post-revolutionary Tambov Antonov). Thirdly, the deceased Lensky remains in the pose of not a murdered man, but rather a hanged one (well, it’s even scary to list the options here - there are hanged Decembrists and a Russian officer tortured somewhere in the Crimean Cheka). And finally, the last one. Lensky, naked to the waist, is taken away almost on a children's sled - almost like a Leningrader who died in the blockade, who is being taken to the Volkovo cemetery or Piskarevka ...
This scene is the climax. Supreme power and energy. And then... The performance, as if by magic, starts to slip, and then just freezes. As if some important spring jumps out of it and the action stops. And the remaining scenes, of course, are curious and meaningful in their own way, but rather made only because it was necessary to somehow bring the story to the end. Hence the empty, not supported by the plan, prettiness - swings and plug-in numbers - cute, but empty (bunny). And the final explanation of Onegin and Tatyana looks like a tragic failure of the performance in general - so academically, with pressure, her unrecognizable Makovetsky and Lerman play ...
No matter how you twist it, it turned out to be a performance about demons. No, not about demons. About black people. Which come to everyone, and we drive them away, but it turns out that we drive our reflection in the mirror. The result was a performance about human suffering and misfortune, only occasionally brightened up with something good, about the way of the cross of Russia, about Russia without God - no, not like that - about Russia without God. The play by Rimas Tuminas turned out to be a terrible encyclopedia of the Russian future, with all its horrors and nightmares.
(1) “He stood up and said: “I will do you a great honor, now personally
I will shoot you for these words. It's uncomfortable here, let's go to the yard, there you and
sign." - "Your will," - I tell him. He stood, thought, and then
threw the gun on the table and pours a full glass of schnapps, took a piece of bread,
put a slice of bacon on it and gives it all to me and says: "Before death
drink, Russ Ivan, to the victory of German arms."
I was from his hands and took a glass and a snack, but as soon as I heard these
words, - I was burned like a fire! I think to myself: "So that I, a Russian soldier,
Yes, he began to drink for the victory of German weapons ?! And there's something you don't want, Herr
commandant? One hell for me to die, so go to hell with your
vodka!"
I put the glass on the table, put the snack and say: "Thank you for
treat, but I'm a non-drinker." He smiles: "Would you like to drink to our victory? IN
in that case, drink to your death. "And what did I have to lose? "For my
I will drink death and deliverance from torment, ”I say to him. With that, I took a glass and
two sips poured it into himself, but did not touch the snack, politely wiped his lips
palm and say: "Thank you for the treat. I'm ready, Herr Kommandant,
Come on, write me."
But he looks attentively like this and says: "At least have a bite before
death." I answer him: "I don't have a snack after the first glass."
He pours a second one and gives it to me. I drank the second one and again, I didn’t have a snack
I touch, I beat for courage, I think: "At least I'll get drunk before I go into the yard, with
to part with your life." The commandant raised his white eyebrows high and asked:
"Why don't you have a snack, Russ Ivan? Don't be shy!" And I told him mine: "Sorry,
Herr Kommandant, I'm not used to having a bite even after the second glass." He pouted
cheeks, snorted, and then how he laughs and through laughter says something quickly
in German: apparently, translates my words to friends. They laughed too
they moved their chairs, they turn their muzzles towards me, and already, I notice, somehow
otherwise they look at me, it seems softer.
The commandant pours me a third glass, and right next to me my hands are shaking from
laughter. I drank this glass at a stretch, bit off a small piece of bread,
put the rest on the table. I wanted to show them, damned, that although I
and I disappear from hunger, but I’m not going to choke on their sop, what do I have
have their own, Russian dignity and pride, and that they don’t
changed no matter how hard they tried.
After that, the commandant became serious in appearance, straightened his chest
two iron crosses, left the table unarmed and said: "That's it,
Sokolov, you are a real Russian soldier. You are a brave soldier. I am also a soldier and
I respect worthy opponents. I won't shoot you. Besides today
our valiant troops reached the Volga and completely captured Stalingrad. This
it is a great joy for us, and therefore I generously give you life. Go to
your block, and this is for your courage, "and gives me a small
a loaf of bread and a piece of lard.
I pressed the bread to myself with all my strength, I hold the bacon in my left hand, and before
I was confused by such an unexpected turn that I didn’t say thank you, I did
to the left around, I go to the exit, and I myself think: "He will light up for me now between
shovels, and I won’t bring these grubs to the guys. "No, it worked out. And this time
death passed me by, only a chill from it pulled ... "
Mikhail Sholokhov, The Fate of Man.
Irina Petrovna (04/12/2016) and everyone who, unfortunately, did not understand ...Dear Irina Petrovna, you have upset me terribly and surprised me.
I sincerely do not understand WHAT in the performance could offend you so that you used such negative expressions, WHAT could offend you so? I deliberately do not repeat your expressions, because everything is not true!
Rimas Tuminas was born to a Russian mother - an Old Believer who married a Lithuanian out of great love. He was educated in Moscow. And, although he considers himself a Lithuanian, the Russian language and Russian literature, just like you, are his relatives. Watch his interview. They are easy to find on the Internet. This is a very subtle and, in all respects, a worthy person! To be angry and to write completely unfair words is simply ashamed.
"Eugene Onegin" by Tuminas is the most talented director's fantasy, built on symbols and associations. But it is important with what kind of inner baggage of knowledge and life experience the viewer comes to the theater, WHAT IS ABLE TO SEE. Everyone has their own knowledge and associations, and therefore "Eugene Onegin" is his own.
What did I see? A performance staged with great love for Russian literature and a deep knowledge of it, designed for an intelligent, thinking, reading and understanding viewer.
Pushkin called the first chapter of the novel "The Blues" in his notes. “But was my Eugene happy?” No, "early feelings in him cooled down ...", and "... nothing touched him ...". These are symptoms of mental illness. What? Pushkin calls it "Russian melancholy", similar to "English spleen". This state is the dominant in Onegin's character. A wanderer with domra (not with a balalaika) - this is Onegin's "Russian melancholy", his eternal companion.
The blues was waiting for him on guard,
And she ran after him
Like a shadow or a faithful wife.
Here she is quite visibly and wanders after Onegin. Compare: a wanderer (according to the theater program) is a companion. Although, I dubbed her "Fate - Villain." And there is probably some truth in that too. When Onegin is about to go to the Larins' name day, the Wanderer shakes his head negatively, does not advise, warns. Laments for Lensky. And before Tatyana's meeting with the wounded general, she rolls the disabled person in a wheelchair, foreshadowing Tatyana's betrothed "... the husband is maimed in battles ..." When Onegin is overtaken by love, the Wanderer-spleen disappears from the stage.
In the performance, the main characters split into two, “reflecting” in a huge mirror on the back of the stage, while the secondary ones have several hypostases. I think the idea with the mirror was born because the plot of the novel is built on the principle of mirror symmetry. Simplified: Tatyana's letter is Onegin's monologue; Onegin's letter-Tatyana's monologue, a mirror-symmetrical transformation of the characters' feelings; Tatyana's dream is prophetic, Onegin's dream is a memory, etc. The duel scene is played twice, increasing the impact. This is the center of symmetry. The duel is the point where the destinies of all heroes are reversed.
Pushkin has many ironic digressions in the novel. Why shouldn't the director add a little irony and humor to the performance? So Pushkin's passage phrase "... I'm afraid: lingonberry water / Wouldn't do me any harm" by Tuminas became a whole ironic and humorous scene. How many of us paid attention to this phrase at school? I will remember her for the rest of my life! How charmingly beaten are Pushkin's flirty words "But here / Incomplete, weak translation ..." about Tatyana's textbook letter.
About Bunny. There is a legend that a hare ran across the road to the superstitious Pushkin, who was going to St. Petersburg. He returned and thus, perhaps, escaped the fate (again, she, the Villain) of his Decembrist friends. Maybe. But the Bunny gave birth to other associations for me: childhood, my favorite counting rhyme “One, two, three, four, five. / The bunny went out for a walk. / Suddenly the hunter runs out, / shoots right at the bunny ...” Well, everything ended well there. However, as in the play. I think the scene is beautifully staged.
Well, what else bothers you? Yes, boots! It is simply a symbol of winter. They marked her offensive: "And now she comes mother winter." Also irony (well, self-irony, not a stereotype). I used to wear boots as a child. For me, a native Muscovite, they evoked associations with warmth, comfort, the Russian countryside and, again, with a happy childhood. I think Tuminas was a farmer in his childhood, and this is what he wanted.
Inherited from many stage name days. It is really tightened, the rooms are far from perfect. Why is she so determined? Let's remember the novel. Onegin, in spite of Lensky, began to show signs of attention to Olga. And this is two weeks before the wedding of Lensky and Olga!
Lensky gives Yevgeny an invitation to Tatyana's name day. He objects:
"But there will be a lot of people there
And all that rabble..."
- And no one, I'm sure!
Who will be there? own family.
And what is it really?
In the morning, the Larins' house was guests
All full; whole families
Neighbors gathered in wagons,
In wagons, in carts and in sledges ...
The name day scene is deliberately designed to make us bored and irritated. It was these feelings that Eugene experienced at the name day and, caring for Olga, he decided to annoy Lensky for his deceit. Perhaps Lensky was sincerely mistaken and deceived himself.
An eccentric, hitting a huge feast,
Was already angry.
... He pouted, and indignantly,
He swore to infuriate Lensky
And to take revenge.
Pushkin drew inspiration from folk art. In Russian fairy tales, the bear is one of the main characters. Irina Petrovna, do you like Russian fairy tales? Aren't you embarrassed THERE by "Russian stereotypes of balalaika bears"?
The bear in the play first appears (mentioned) in Tatiana's dream. He helped her cross the stream, protected her on the way, and when she stumbled, he picked her up and carried her to Onegin. The dream in my performance was read by Kupchenko, dressed and combed like Tatyana in the final scene. The adult Tatyana has a whip in her hands, one of the symbols of the torment of Christ. Young Tatyana will take the same whip from the hands of the deceased dance lady and go with him to her final dance. Tatyana's dream is prophetic. It foreshadows everything that will happen next in the novel, including future marriage. In addition, the bear in the dream of the heroine is Onegin's godfather, and her husband, the general, really is Onegin's relative and friend. By the way, the dream also mirrors reality: first, Tatyana meets a bear, only then Onegin, and it ends with the murder of Lensky. In reality, everything will happen mirror-symmetrically (again, the back-mirror is justified): in two days Lensky will die, after a while Onegin will demand and pray for “mine”. And in the finale, after a farewell explanation with Onegin: “I love you (why dissemble?), / But I am given to another; / I will be faithful to him for a century”, Tatyana dances with the bear-husband-general, thus, from her dream . This dance symbolizes her conscious decision, even determination, to accept this fate and not violate this oath once and for all. In the arms of a bear "she is insensibly submissive, / She does not move, she does not die ..." (curtain)
Again, everything is according to Alexander Sergeevich! And nothing more.
Tuminas' performance is a hymn to a Russian woman, capable of the most sincere feelings, noble and sacrificial.
Remember how girls in snow-white (the color of innocence and purity) dresses take off before Tatiana and Onegin explain. And it's not only insanely beautiful! The scene symbolizes Tatiana's moral height, her moral superiority over Eugene.
Onegin is morally punished for his pride, betrayal, the murder of a young friend, the evil he inflicts on others, for an aimless and fruitless life. Having grown old, alone, he can only remember that "... happiness was so possible ..." (the first and last picture of the play).
What is "vulgarity"? What is "obscurantism"? And where does "liberal thinking"?
Pushkin's novel is full of symbols and riddles. The director staged the performance, skillfully continuing this game. The performance fascinates and shocks, delights, makes not just re-read the original text, but study it - to solve these riddles.
Read the novel! Read Literary Criticism! Do not expect that school knowledge is enough for you. Maybe then, many places in the play that you did not understand will not irritate you so much. Yes, you need to develop a sense of humor. Without it, nowhere!
I am sure that “Russian values” (?) do not suffer from this performance, and “Russian culture” only wins.
Thanks to Rimas Tuminas for his reverent attitude to the Russian classics, for his respectful attitude towards the viewer, thanks to ALL artists for SERVING THE ART.
P.S. The Baltic German Adam Johann von Krusenstern, the Danes Vitus Bereng and Vladimir Dal, the Scot Barclay de Tolly, the Georgian Prince Bagrationi, the Jew Lev Landau, the Germans Friedrich Zander and Svyatoslav Richter, the Lithuanian Rimas Tuminas and others are the pride of my Fatherland and have served it more than others. "Russians".
about the performance
Eugene Onegin
For the musical theater of Stanislavsky and Nemirovich-Danchenko, the opera "Eugene Onegin" is of particular importance, because it was the first performance that was presented in the studio under the direction of the great reformer K.S. Stanislavsky. Prepared by Stanislavsky, the production marked the birth of the theater. During its existence, this production has celebrated several anniversaries. In 1934, the 500th performance of this performance took place, and in 1951, the 1000th.
Of course, over time, some details from the production prepared by Stanislavsky left, nevertheless, the theater has always treated the performance tenderly and reverently. In December 2001, farewell performances of the legendary production took place, and after the reconstruction of the Musical Theater. K.S. Stanislavsky and Vl. I. Nemirovich-Danchenko, a new "Eugene Onegin" appeared in his repertoire, for which our ticket agency offers to buy tickets. Its creator, Alexander Titel, respected the original source, but did not completely copy it.
The new "Eugene Onegin" at the Stanislavsky and Nemirovich-Danchenko Theater is a modern performance that is in tune with today's audience. Every theater-goer should see it, because this production is considered one of the best operatic masterpieces of the theatre. You can order tickets for the opera "Eugene Onegin" at the Stanislavsky and Nemirovich-Danchenko Theater on our website online or by phone.
The duration of the performance is 2 hours 50 minutes (with one intermission).
Composer Pyotr Tchaikovsky
Libretto by Pyotr Tchaikovsky and Konstantin Shilovsky
Musical Director and Conductor Felix Korobov
Stage director Alexander Titel
Production designer David Borovsky
Costume designer Olga Polikarpova
Lighting designer Damir Ismagilov
Genre Opera
Number of acts 3
Execution language Russian
Original title Eugene Onegin
Duration 2 hours 50 minutes (one intermission)
Premiere date 27.04.2007
Age limit 12+
Musical Director and Conductor - Felix Korobov
Tatiana - Elena Guseva, Natalia Petrozhitskaya
Olga - Larisa Andreeva, Veronika Vyatkina, Ksenia Dudnikova
Eugene Onegin - Dmitry Zuev, Ilya Pavlov
Lensky - Sergey Balashov, Nazhmiddin Mavlyanov, Alexander Nesterenko
Larina - Irina Vashchenko, Natalia Vladimirskaya, Ella Feiginova
Filippyevna, nanny - Veronika Vyatkina, Irina Gelakhova, Ella Feiginova
Gremin - Roman Ulybin, Dmitry Ulyanov
Trike - Chingis Ayusheev, Vyacheslav Voinarovsky, Valery Mikitsky
Company commander - Mikhail Golovushkin, Denis Makarov
Zaretsky - Felix Kudryavtsev, Denis Makarov, Roman Ulybin
He also works at other venues in Moscow. In he plays Gurgo in "Carrot for the Emperor" and Faryatiev in the project "Stirlitz Walks Down the Corridor". In The Other Theatre, he is busy playing the role of Lot from the play When the Earth Ends, he can also be seen as Alik from Touring Tango.
This artist has several film credits to his credit. He played Thomas in the "Code of Honor", Baklanov in "Russian Amazons", Rogov in the detective series "Viola Tarakanova", Patrick in "Carousel". In 2008, he played the main role of Rostislav Sobol in the comedy Closed Spaces.
In 2011, Makarov received the Gratitude of the Minister of Culture of the Russian Federation for his great contribution to the development of theatrical art.
((togglerText))On this stage, Vasilisa Maksimovna played Isa in "Princess Yvonne", Sister Beata and Thief in the play "Cyrano de Bergerac", Lady in "Anna Karenina", Petty bourgeois in the play "For Two Hares", etc. Now Sukhanova is busy in such performances of the current repertoire, like, "Masquerade", and.
In the cinema, Sukhanova first appeared in 2009, taking part in the film "Everyone went to the front." A year later, she played Vera in "Hostages", and then Anya Berkutova in the historical drama "Deli Case No. 1" and the princess in "Horde".
((togglerText))Here Melnikova played many different roles. This is Shura in the Yenisei Meetings, Katka in Rus! Bravo!”, Tulyachka in “Lefty”, Hilda in “Night of the Iguana”, Valentine in “The Miracle of St. Anthony”, Marusya in the play “Front”, Katerina in “Uncle's Dream”, Virginskaya in “Demons”, etc.
Now the actress is busy in performances, where she plays Larina, the Priestess, "Last Moons" and "Pier". In addition to her creative work, Melnikova heads the theater trade union and is actively involved in social activities.
Elena Viktorovna devotes a lot of time to the set. She has more than seventy films on her account, of which there are several roles of the main characters. The brightest of them are Anna Grigoryevna in the short film "Smotriny" and Tanya in the social drama "Rowan Nights".
((togglerText))In 2011, Kirill Viktorovich founded the S.A.D. Theater, of which he is still the artistic director, producer, director and actor. Here he played Drosselmeyer in The Nutcracker, Soloway in Arcadia and others. played Willers.
Today, on the Vakhtangov stage, this artist plays Gustave Flaubert and Rodolphe Boulanger in, Ulan in the play, Hevern in the play “People as People”, Des Grieux in “The Pier”, Champlatro in.
Kirill Rubtsov has been acting in films since 2004. Among the roles he played are several main ones - Jameson in the comedy G-factor, Kostya in Lectures for Housewives, Andrei Nekrasov in the TV series Chef, Pereverzev in the melodrama Our Happy Tomorrow, Granovsky in detective story "You cannot be pardoned", Smorodin in the detective story "Implementation", etc.
((togglerText))In the famous "Princess Turandot", a kind of hallmark of this team, the talented actress played Zelima wonderfully, she also appeared in the images of Lucille from "The tradesman in the nobility" and Grunka from "Virineya". The audience was fascinated by her Cinderella in the performance of the same name and appreciated the images of Aglaya from The Idiot, Nana from The Trap and the Princess in the fairy tale Puss in Boots. Lyubov Alexandrovna devoted her whole life to her native Vakhtangov Theatre, earning the love of the public and the sincere respect of her colleagues.
The actress's cinematic debut was the role of Valya in "Street of the Youngest Son", the film was released in 1962. Lyubov Alexandrovna played Karpova in "The Adventures of a Dentist", Katya Igumnova in "Zose", Fenya in "The Brothers Karamazov", and also starred in many films and performances.
((togglerText))The first role of Oksana Surkova in the cinema was Maya, which the actress played in the military drama "Atonement", filmed in 2011. Four years later, she took part in the drama "Paradise", where she played a girl with a tablet. Later, Surkova appeared on the screens in the image of the basketball player Nikolaeva from the sports drama "Upward Movement".
((togglerText))On this stage, Olga Leonidovna played a whole galaxy of bright characters - Arlette in The Unlearned Comedy, Desdemona in Othello and others. The actress also took part in the performances of the Anzhelika Kholina Theater "Carmen" and "Return Home".
Today, Lerman delights his fans with his work in the performances of Anna Karenina, where he plays Anna, the role of Tatyana, Jealous of Herself, Donya Magdalena. Creativity Olga Leonidovna marked by numerous theatrical awards.
The first main film role of the actress was Sasha in the romantic comedy "Handsome", filmed in 2011. This was followed by the roles of the main movie characters in the Russian-Ukrainian comedy "Lonely by Contract" - Lilia, the melodrama "Consolidated Fates" - Anya, the detective story "House on the Edge of the Forest" - Vera. In the melodrama "Mashkin's House" Lerman played Masha, in the melodrama "New Year's Express" - Lena, and in the detective story "Secrets of Mrs. Kirsanova" - Larisa.
((togglerText))The first film work was the role of a DJ in the drama "Legends of the Circle", filmed in 2011. Then he played Seryoga in the detective story "Forester", a traffic police officer Baklanov in the crime drama "Major Sokolov", etc.
((togglerText))Here the artist took part in eighteen productions and immediately took a leading position among the younger generation of this theater. One of his first creative works was the role of Troilus in the play Troilus and Cressida.
Leonid Alexandrovich, possessing a multifaceted talent, successfully embodies diverse characters in performances of various genres - Brisaille in the play Cyrano de Bergerac, Boniperti in The Royal Hunt, Liputin in Possessed, Count Tushkevich in Anna Karenina. Now the artist enters the stage, playing roles in the play of the same name, Figaro in Crazy Day ..., Boris in, Michele in The Pier, Rocco in the production, Zvezdich in Masquerade, etc.
No less successfully Bichevin works on the set. He has more than two dozen roles on his account, most of which are the main ones. For the role of Alarin in the film “Kuprin. In the dark "he was awarded the award as the performer of the best male role. The artist also played Denis in the drama Life on Borrow, Boris in the Happiness Group, Nikolai in the international project Girl and Death, Alexander in Dragon Syndrome - and this is not a complete list of the main roles he played in full-length films and TV shows. .
((togglerText))The actor made his debut in the TV series "Lyuba, Children and Plant" in a modest episode, playing a student. Then he starred in "Dandies" by V. Todorovsky and "Code of Honor-4". In the series "Institute for Noble Maidens" Ivanov brilliantly played General Skobelev. The artist's filmography includes 20 projects.
((togglerText))In 2015, Borovskaya became an actress at the First Studio, where in her first theatrical season she took part in mass scenes of such performances as The Birds, Minetti, Othello, Peleas and Mélisande. The girl in the tavern from the production of "Actor's Death" became a memorable work. And from the first day of 2018, the actress was enrolled in the staff of the glorious Vakhtangov troupe. The talent of this actress was awarded the 1st prize at the competition of readers named after. Ya. Smolensky.
Now Borovskaya can be seen in performances where she plays Lyuska, - Princess Elizabeth, - Pear, - Housekeeper.
The debut work in the cinema was participation in the Russian-Israeli short film "Sugar". This was followed by participation in the documentary film “Alien secrets. Seasons ”, where Borovskaya played Lena, in the fantastic project“ Draft ”- Anna.
((togglerText))As a director, Simonova made her debut in 2017 - her first performance was The Evening of Jesters. Two years later, she staged The Diary of Anne Frank on this stage.
Now Ekaterina Simonova can be seen in the performances of the Vakhtangov Theater, where she plays Ursula, "Pier", "Favorable Participation" - the Student, "Anna Karenina" - the Lady, - the Girl, "Oedipus Rex" - the Winged Virgin, "Smile to us, Lord" - Hasyu and "Masquerade" - Guest. In 2017, for the role of Lena, played in the play "Benefit Performance", she was awarded the MK Prize in the nomination "Best Supporting Actress". And in 2018 she received the Gratitude of the Minister of Culture of the Russian Federation.
The first work in the cinema of Ekaterina Rubenovna was participation in the filming of the film-performance "White Acacia", where she played an Odessa woman. A year later, Larisa became her heroine in the action movie The Flock. Later, Simonova starred in the film-performances "Pier" in the role of a student, and "Coast of Women".
((togglerText))TV viewers know Ruben Evgenievich by the roles of investigator Kazaryan from the detective story "Maria Medici's Casket", Misha from "Solar Wind", Karakhan from "Chicherin", Baysultanov from the action movie "SOBR", etc.
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