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Wednesday, March 21, 2018

“Taganka again one against all”

Finally the legendary Taganka opened its doors after repair. Not for meetings and gatherings, but exclusively for creativity. The first product presented to the audience, — “Coriolanus” by Shakespeare. New performance pleased — after all the scandals on Taganka started.

photo: Mikhail Guterman

Caius Marcius Coriolanus (Dmitry Mulyar) and stands (Philip Cats).

“Coriolanus” grew out of “Rehearsal” — the pilot project Director’s lab, painted by Director Irina Apeksimova for the season-2015/16. In search of a new path, hoping to regain the breath the young theatre company is inviting Directors, for a limited time create a sketch show that will be raised at the court of the public and expert Council. If the sketch turns out convincing his take in future work.

It is the decision of the expert Council on the results of the second session the work was taken “Coriolanus” Anna Potapova, a graduate of the workshop of Mark Zakharov. Now, when from the stage and from the podium, people tend to Express discontent, to denounce the current government, to draw Parallels with the present, to create a critical allegory and allusion, reference to Shakespeare’s material is quite natural. Shakespeare’s tragedy, is considered one of the most “masculine”, sounded from the stage decisively and freely, drawing Parallels, and denouncing eternal values and problems, speaking once again about the responsibility of the state to the citizen, about the confrontation between the individual and the crowd, powerless against injustice and deceit.

The history of the rise and fall of the hero, the valiant warrior Caius Marcius Coriolanus, is told exciting, in the performance of internal dynamics, precise rhythm. The graduate workshop of Yuri Lyubimov actor Dmitry Mulyar managed to create a truly heroic way — in his Coriolanus and the military become, and dignity, and the internal tragedy. He is a hero-a renegade, an honest warrior, not smarmy politician, in favor of the crowd can trample on their ideals and values, to make a deal with conscience. And when a cunning and treacherous tribune (Philip Kotov and Igor Pekhovich) ignominiously expelled Coriolanus from the city, it is his antagonist Tull Alfidi (strong work Sergey Trifonov) ironically becomes an ally in the battle against the betrayed hero of his native Rome.

The image of the truly ancient depths of the embodied Anastasia Kolpikova, who plays the mother of Coriolanus. One of the strongest scenes in the play was the moment her explanation with Kai Marciam, when she, together with his gentle wife (Anna Nicholas) come to ask her son to spare the city. But to put out an uncontrollable fire of revenge is hardly under force of mother and wife — scorched revenge Coriolanus resolutely to the tragic finale.

The finale is perhaps the most controversial place — raises questions questionable the novelty of the technique. The hero, despised by society, is dying, and on his white robe (symbolizing innocence), all participants alternately pouring blood-red liquid — the artistry seems to be artificial, if artificially inserted into this show from others with similar endings.

The questions raised and not entirely convincing scenographic solution of a strong theater artist Maxim obrezkova’s poems: the chairs placed on the stage, in some moments definitely interfere with the actors — they just get confused in them. Of course, these are details, but these flaws give detailed haste.

If the theatre decides to take a new direction, I wish all the chords (especially the final) sounded shrill and without hypocrisy, and the pattern of play was clear. Only in this case the legendary theatre will not only glorious past but also a bright future.


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