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Tuesday, October 25, 2016

In “Snuff” agreed the violence and sex

Three weeks remain before the main event, which “Snuff” and its founder, Oleg Tabakov, for many years — the opening of the new building at the Sukharev square. While not fanfare rang out and the mayor Sobyanin does not cut the scarlet ribbon, the basement Chaplygin opened the season with a parade, put at the beginning or the end of last season.

The first to premiere the poster is the play “waiting for the barbarians” by John Maxwell Coetzee, who had until now in Russia theatrical releases.

The press service of the theater of Oleg Tabakov”

Prior to the commencement of the degree of nonchalance of the artists on stage are striking: facial expressions read frivolous chatter and jokes among themselves, while seated the audience. Boy with basin in hands innocently drawn to the hall: “Dear viewers, in case of fire, the exit will be through…” — “Thank you, boy,” responds someone from the audience, and the audience laughs. Overall, a great mood before the “Barbarians” there. And does not know that for more than two hours of stage action he never will smile. Will be hard-painful-erotic.

Directed by Alexander Marin, very interesting working with the classics and modern literature, this time applied to the third novel by South African writer John Maxwell Coetzee “waiting for the barbarians”. The 1980 novel, written during the apartheid era, in 2003 m received the Nobel prize. The parable of the nonexistent country, composed, probably, any. Russia, in any case, definitely, especially today with its suspicion to one and all, to search external and internal enemies, the maniacal desire to find and neutralize. The parable of the machinery of state, created only for the destruction of the individual as such.

The press service of the theater of Oleg Tabakov”

Two main actors: Colonel of the Third division and a local judge. Philosophy first simple as planed stick: the barbarians living outside of the Empire (Roman, any other — doesn’t matter) are a threat to the security of the Empire and therefore subject to destruction as any other. The judge is not a fighter of some sort, he wants to quietly live to retirement and surrender to passion — archaeological excavations. Quite peaceful person, visits a brothel, and his attitude to women even painted heart affection. Unpleasant incidents of abuse caught by the barbarians (they are for murky glass wall, and only on the outline and bare legs from under the glass, you can guess what they are), though unpleasant for the judges, but do not cause active protest. And only after he begins to care for the crippled barbarian, sees more chaos and lawlessness.

But the fact of the power of the writer Coetzee, that his hero is a man of flesh and blood, not a template pryamohodyachoyi ideas. Tailored from doubt, fear, reflections, quite normal desire of comfort and sex. Violence and sex, which keeps the modern world here is messed up and lose identification.

Alexander Marin has made radical performance, the radicalism of which in truth and honesty. His “Barbarians” clearly understand that there is the position of the modern artist, and what is the game in it. That really is an actual conversation with the audience and what is PR: the opposition of the artist. On a tiny stage basement of theatre unfolds an epic action and directorial work (the construction of the play, working with actors) is amazing.

The main role is given to Andrew Smolyakova (judge), Alexander Fisenko (Colonel), Jan Sexta (barbarian from a dream) — astonishing, especially in Smolyakova. The actor, who begins as apathetic if (an aging man knows the price of everything) carefully lead your character to the enlightenment. But this face of the transition is almost invisible, it does not fall into the heroic pathos, but still weak, the particle of existence, which always stands before a choice — stay miserable or…. Good and Sexta, and Fisenko, proved and trainee group: Paul Shawanda, Arthur Kasimov, Denis Paramonov, Anastasia Timoshkova and Alexander Limin, dancer, accepted the drama troupe.

The press service of the theater of Oleg Tabakov”

The cruelty of life Marin shows through the theatre of cruelty, where violence and sex have become synonymous, that only confirms restless frames in the daily news from different parts of the world. At the Marina the realism of reality transferred to the stage of imagination and dreams — they are avaricious plasticity (choreographer Nikolai Reutov), on the brink of an erotic spectacle, but never the face that didn’t move. Whether this performance Alexandra Marina moved to the new site of “Snuff”, Sukharev, is still unknown, but the fact that the “Barbarians” and his previous show “Storm” in the basement closely, it’s obvious.


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