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Friday, September 22, 2017

Bad play by Brecht successfully put in the Pushkin theater


At theatre of a name of Pushkin has put an early play by Bertolt Brecht — the same one that the author himself considered a failure, — “Drums in the night”. Yes, and the first production in Munich in 1922, barely survived one season. But it seem did not bother about St. Petersburg Director Yury Butusov, who “Reels” I decided to complete your first diptych in Pushkin. What he expected and what came of it, versed observer “MK”.


photo: Michael Guterman

Timofey Tribunal, Alexander Matrosov, Alexander Ursulyak and Ivan Litvinenko.

Don’t know how Yuri Butusov, but the artistic Director of the Pushkin, Evgeny Pisarev, clearly took a risk by agreeing to not very good from a historical point of view for your company. First, the play that had the exact reference — the November revolution in Germany of 1918, in which the author was personally involved, but was extremely disappointed. Here its disappointment and announced “Drums in the night” (the original title was “Spartacus”, but not in honor of the slave-Gladiator, and organizations created by leftist social Democrats and converted to CNG). Second, Pushkin is already underway, and with great success, “the Good person of Szechwan” Butusova, and confirm the success of “Drums” and not, say, “Threepenny Opera”, many seem at least strange. Nevertheless, the theatre took a chance and…

Yeah it’s some kind of circus freak! — exclaims one of the characters. He is right — on stage, do the freak show: a man with bright green hair and a long face (Carl Balice, who is also the owner of the factory shell boxes, he’s the head of the family), his wife Amalia, with a bleached face and a red slash through the shoulder, — her death with a known tool of the harvest. Their daughter Anna — the raunchy redhead doll-anime — and her fiancé Frederick Murcus, with a view clown whenever falling with Reprise and therefore dissatisfied with all.

The picture “freaks” is complementary to the background, where a prostitute in a dress “stretched tank-drinker”, a man in a bowler hat and antennae, as well as a boy or a girl (do not disassemble), which is a bloodless voice, but with a slight grasserbauer declares a respectable audience what it expects, the essence of the characters ‘ actions well, or at least an intermission. Here’s a “warm”, but a few unnerving company (still in the street uprising, firing), meeting in the pub, poison life came… dead. Easy, it’s trash (though how to look at life itself for these people) is just the old fiancé, Anna, Andreas, Kragler, who was considered missing in the war, and then killed, went and came. Although the bride is pregnant, but “stiffs” still loves. And that — in a tutu, slipping from the weakened male Breasts. In a word, oil painting.


photo: Michael Guterman
Anna — the raunchy redhead doll-anime — and her fiancé Frederick Murcus (Alexandra Ursulyak and Alexander Matrosov).

Tension in comparison with the painting does not — plays Butusova is very similar to the paintings of the expressionists, animated heroes which exist in a fierce expression. The sound and the fury — their element, and Butusov as no one knows how to manage it. As no one knows best, and even in the apparent excess is manifested style. What to say about the taste, made manifest in the design of Alexander Shishkin, cost of small means. He set on the stage of Pushkin space in the form of a cabaret, trying in times of crisis to maintain a respectable appearance with the remnants of the former luxury. Hence advertising in light bulbs with actionable verbs like “eat” down on the stage and floats up; the appropriateness of the microphones, which in other performances of other theatres, it is impossible to see the senselessness of their use; the unreality of many of the white ceiling, suddenly hanging over the stage — their Matt light comfortable and does not hurt the eyes.

But the main thing — the atmosphere of the cabaret with its musicality; by the way, the soundtrack of a wonderful show made by Butusov and he as an individual hero. A typical cabaret, with its passion for evil grim to the grotesque costumes and dressing up men in female roles, female on male.

Of course, the directed by Yuri Butusova no relation to the November revolution in Germany in the early last century, interesting is that the specialist has. But the Director miraculously reads from the plays of ancient times to today’s realities. Not the external — internal: what happens to a person in those circumstances; what they do with and for the benefit of any values, he makes the choice himself? And not far away 1918 in question (witness-it really gone), and about the first half of the XXI century. Butusov, which any ancient author as though contemporary, is able to transmit the ideas, not only those registered, and they themselves felt. Today he is the best interpreter of the classics.

To exist in matusovski aesthetics may not all actors. But those who work with him for the first time, only confirmed the high class of your game. It is almost the entire composition, first and foremost, Alexander Ursulyak (Anna), Alexander Matrosov (Murcus) and, of course, Timofey Tribunal invited from “Satyricon” for the role of Andreas Kragler. Actor invoice rich, but a huge inner strength. The role of the second and third plan also draw attention to themselves: it is interesting to follow the characters of Vera Voronkova (Babush, journalist), Ivan Litvinenko (Amalia), Alexey Rakhmanov (Carl) and Anastasia Lebedeva (dear grassiruyuschey waiter Manke).

Drums — as part of the scenery, they are also tools in the hands of the artists in the final. All nine people cleverly beating them with mallets. But they seem to be hitting not for the main character, which was fenced off by a huge wall from this cynical and crazy world and your head in television. And Boris Pasternak’s verses are not accidental:

I want to go home, into the hugeness

The apartment, the ghastly sadness.

Come in, take off your coat, come to their senses,

Lights of the streets will be filled with…

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