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Thursday, August 24, 2017

In the Electrotheatre launched “the Colonel-a bird”

Grinding like electric music. Twilight scene, the ambient light from the spotlights. In the centre is a mountain of mattresses, makeshift apotheosis of war. Immediately evident is a forgotten place, although the divine is still in the form of frescos with images of saints in the background, looking down with metallic design (set designer-debutant Polina Fadeeva). Here will unfold the action of the play “the Colonel bird”, based on a play by Bulgarian playwright Hristo Boychev.


Director Roman Drobot approached difficult stage material. Just play one female and six male roles. There is another, regardless of age and sex: coined Director the role of a Bird (Anton Lapenko) as a silent observer. The narrative leads reflexing hero, a young doctor-addict (Evgeny Samarin), by coincidence trapped in the abandoned monastery-the clinic of the Holy Forty Martyrs in the Balkan mountains. Here, divorced from reality, live in an institution for the insane, and each of them has its own history.

As the events at the psychiatric clinic develop on the background of the Yugoslav conflict, all the characters are crippled by the war, sriniva their souls. Former prostitute Pepe (Daria Kolpikova) is a reformed sinner, “single customs officer at customs of love”, serving five years of 15 trucks per day on the bridge of Friendship, and now decided to dedicate himself to God and otmolit sins. In the past, a failed actor deaf Hacho (Anton Kostochki) here, in terms of survival, the voice news, who reads the lips of the speaker from the TV without sound and sometimes recalls his acting, reciting the fable “the Fox and the donkey”. There in the clinic and suffering from psychosis Matei (Vladimir Dolmatovsky), who considers himself small and vulnerable, a drunkard and kleptomaniac Kiro (Boris Dergachev), exhausted by the impotence of the Roma Dawood (Dmitry Chebotarev). There is a mysterious character, bojcevski Leader — Russian Colonel Fetisov, silent since the death of his family.

Everything in this play seems to be a big experiment, a hoax, a game. Game with the audience, playing characters with themselves. The pathos of the speeches due to the anti-war theme of the call, and the painful desperation of the characters, alienated by society. Director’s handwriting is here with a dotted line: it is invisible, it is straight-forward solutions. The second act begins with a scene in a bathhouse where Nude actors, bashfully hiding behind a broom, strode under the traditional “Kalinka-Malinka” for their newfound Russian leader. Fortunately, the scene is staged so that it is hardly offended by Orthodox traditionalists of the theatre: there is no inherent eroticism and coquetry, as well as call or obsequiousness. Mesmerizing scene, played out in the style of shadow theater. Beautiful and open ending to the music of the Battle Room Steve Jablonski, when heroes like birds trying to get off the ground, fly over the world affected by the war, and his own impotence. Internal symbolism, parallel and associative references — stylish acting performance of the Novel Drobot is filled with signs and reflectors subtexts for viewers. It seems that just about anybody will get familiar with “what people do not fly how birds?”. But the rush spills — hangs dumb question in the viewers mind. For “born to crawl” fly — dream. But is there a place for dreams in the warring world? Narrated by actors from the stage is a parable, so essential to understanding today.

— In this play there is a clear human message, — has shared with “MK” reflections Director Roman Drobot. — All people are crazy, and some one needs to stop the madness. I wanted to talk about it… When we first rehearsed and showed that play, it happened the events in Ukraine. Quite unexpectedly the life is so played up that the play began to sound and politically relevant, and with a clear social implication, important questions.

— How you defined the genre for this show?

— When the fabric of the play has already been created, it is very difficult to define the genre. For me it’s a circus with elements of tragedy… Although, to be precise, it is a farce with elements of the circus.

— You have the history of the characters is completed?

Final at us open. Have Boychev added that the characters find themselves in Strasbourg, is a continuation. But we thought: why prolong a story that is so clear? Know what the unraveling of the play? It’s the solving of puzzles. The game comes inside of play, this kind of juggling.

— What target audience is your target performance? And have you thought at all about the first time you worked on it?

— When I studied in the Theatrical Institute. Schukina, I had a teacher who always told me: “Roma, you can come up with anything, you can Unscrew it from the artist and him in the ear to insert the bulb, but it is not clear if aunt from the city of Sterlitamak, then your performance is not worth a penny”. Anyone, trained or came from, needs to understand everything. By what means can this be achieved? Different. But the story must be told.

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