The famous House of Light — the creation of a brilliant constructivist architect Konstantin Melnikov, is included in all global catalogs, encyclopedias and tourist guides as an architectural masterpiece, from a distance like a fancy tractor or preparing to sail a giant ship. Soviet paraphernalia on the front of the saved: to the left the inscription: “trade Unions” the right “School of Communism” center “Rusakov Club. The Union of communal services”, just below the “Roman Viktyuk Theatre”.
photo: Archive MK
I remember walking into this building 20 years ago when in 1996 Viktyuk has invited for the first reading in the new building: the Maestro had up to then put on Efim Shifrin play Nino Manfredi “Confused”. Guess that the building was conceived as a House of Light, it was almost impossible… a Huge melnikovsky the Windows were bricked up, the building was complete devastation, the auditorium filled with junk, and rehearse was in the only room in the left wing (where the Directorate), and, in fact, this is quite a big size room for many years was the only rehearsal base of theatre.
And now, in the transformed House of Light the long-awaited (20 years of waiting!) Prime Minister. Turned into a round stage, a Greek amphitheatre, celebrities… Vera Vasilyeva, Efim Shifrin, Director Andrew Zhitinkin, Andrey Maksimov, Elena Kamburova… In the end, the actor and Director of theatre of Viktyuk Igor Nevedrov read greetings and congratulations on the 80th anniversary of the Master from Dmitry Medvedev, Valentina Matvienko, Mikhail Shvydkoi (“Roma, live long!”)… And under the feet of the Maestro in the cheap seats are flying roses…
Open House Light fine decided to play the last classic of the twentieth century and the genius of American literature Tennessee Williams “suddenly last summer”. It seems that such treatment is not accidental, and, of course, not only in celebrating this year of the 105th anniversary of the great writer. Viktyuk one of the first in the Soviet theatre turned to this author, and delivered in 1982 for the Moscow art Theater play “the tattooed rose” until recently was on stage for 26 years! 10 years after the premiere, it was moved to Helsinki, and in 1993 came out with the Preface. the book is Williams’s “Desire and the black masseur” in translations of Viktor Denisov, and that the play is “suddenly last summer” it was opened. So the desire to implement the latest masterpiece of the American classic on a Russian stage had Viktyuk long (although such performances were carried out in the Russian theatre, of course, before).
And the main thing that should be noted are the closeness of the two artists. First of all, this poetic plastic theater, a concept which Williams put forward in the Preface to his “the Glass menagerie”. Viktyuk was always surprised how one-sided, bypassing the plastic and the poetic nature of the texts Williams, in the style of hyperrealism put this author on the American and European stage. After the American, but in the Russian version, the own concept of plastic theatre Viktyuk also cultivates for many years. Not only monologues and dialogues, but plastic artists, and related to them, determines the psychological or psycho-physical essence of the main characters and the artistic nerve of his productions. What can be observed in new job: it is an organic plastic and the play of young artists working in premiere, Michael Polovenko (Dr. Cukrowicz) and Nikita Kostochka (George), is a good example.
Moreover, the plastic characteristics of the main characters in the performances Viktyuk was given as much time that an unfortunate consequence of this is the inevitable reduction in canonical or non-canonical original texts. Do not avoid these reductions and Williams — and this is one of the main claims to the new production. The loss of each, it would seem that even small words, small parts of the author leads to the loss of meaning and deformation of the whole structure of the play. Another disadvantage — ignoring the author’s remarks. After all the plays of Williams are that alloy is not only drama, but, in fact, the Director’s decision, that every gag is not only unacceptable, but also blasphemous. Williams himself already all set and directed.
However, the atmosphere, the poetic nerve of this drama Viktyuk feels like no other. He really seeks to explain the unexplainable — the mystery of this magical drama and the main claim of the author of the play “suddenly last summer” performs strictly, decoding in the course of setting many of its codes. “Resolved, conditionally, in the manner of unrealistic, the scenery pieces can remind you of the scenery for the dance drama. The gardens are full of huge flowers-trees, like the severed body parts on them like nusapersada still sprinkled with blood; heard piercing screams, whistling, hissing, sharp sounds like the garden is inhabited by wild animals, snakes and birds of prey…” — wrote in the preamble of author Tennessee Williams.
She should Viktyuk: turned in a circle, the stage lined with metal, chains everywhere, a giant metal plate, scattered metal roses, twisted Bicycle wheel and the bike itself… On these bikes chasing the play in an imaginary band of hungry boys to break into pieces and eat (!) the body of the protagonist. No, however, bicycles in the text Williams no, this is an impressive notion of the Director — a symbol of the attempt to escape from the Madding world in which nonsense like reality, and reality to nonsense.
The main metaphor of the play is depicted on one of the giant plates pierced with arrows, Saint Sebastian of Renaissance artist El Greco (this image Intrusive and repeated in other pieces of scenography). It symbolizes the missing in action of the play, but at the same time is her the main character of the poet Sebastian Venable. Staged at Viktyuk all built on his absence and at the same time on an invisible presence, and this giant painting makes it’s presence quite noticeable.
Made his own aesthetic a La “the Maids” Viktyuk long ago turned inside out, and now it aesthetics akin to aesthetics so beloved they oberiutov, the grotesque illogic, absurd… so, snow chains, wheels, metal… and it all rumbles, grinds. On the metal scene with the power and noise of flying chairs, tables. On stage the real and the incessant hysteria. Like by the lunatics (and they are in General established, in fact, are) yelling and screaming the main characters. Game artists is truly impressive. Many years serving in the theatre of Viktyuk, understand Wizard’s sentences Lyudmila Pogorelova (Mrs. Vinall) and Ekaterina KARPUSHINA (Catherine) heating up the atmosphere of the action to a higher degree, working almost on the verge of a nervous breakdown. Well, the audience, the Roman spared. And not to the audience the hero of the day — he talks, in his words, eternity.
With the audience as if the Director conducts a session of psychoanalysis. Located in the heart of the scenography of the huge skull in the context of moving like the streaks of light gyrus emphasizes this fact: the Director really dissects not only its own subconscious, but the subconscious of the audience. Clash of the creative imagination of the artist and the destructive reality (“Remember one thing: she (i.e. Catherine. — P. Y.) ruins everything, and my son has created,” says the play’s main character Mrs. Vinall) is the main motive of the play. As a result, the concluding remark of this character: “In Lyons view! To violent! And let it out of her head finally cut out this monstrous nonsense!” — deeply symbolic.