In the Theater. City Council Yury Eremin has put “the Idiot” where the stuttering Prince Myshkin and Donna Nastasia performed by the Royal Ekaterina Guseva find each other in the abyss of Russian life.
photo: Sergey Petrov
Aglaya — Anna Mikhailovskaya, Prince Myshkin — Anton Anosov.
“The idiot” by Yuri Eremin puts a third time. In 1984, being the chief Director of the then Central theater of the Soviet Army, he made a bet on Aristarchus Livanov, and then invited Boris Plotnikov on the role of Prince Myshkin, lured from Lyudmila Chursina for Nastasia Filippovna, the in which they saw scorched beauty. The play remained in the repertoire for thirteen years. Twenty years ago, Eremin put “Idiot” in Tallinn the Russian drama theatre. Here we go again with him to Moscow, becoming not only the Director but also the set designer of the play.
Every time wonder of the universality of Dostoevsky. Where not only threw the fate of his characters. Prince Myshkin and Nastasia lived in post-war Japan at the Kurosawa, settled in the Church in the radical Estonian film Rainer Sarnet, that did not stop the family Epanchina to turn into a collection of vulgar dolls. Nastasia remained Holy, even in a cocktail dress, but immortalized in the salary of Orthodox icons. Become heroes of Dostoevsky’s closer and more understandable to the modern consumer, the queries which sometimes take precedence over common sense and purely artistic tasks?
With our audience, an irreversible metamorphosis. Even in the darkness of the hall, the audience can’t get away from mobile phones, constantly talking, like sitting at home in front of the TV. The audience seems to be thoughtful and inquisitive, discusses the subtleties of interpretation, based on serial knowledge of Dostoevsky. A sense of elitism hall at the Moscow premieres of completely disappearing from our everyday life. Enlightened public is becoming less and that comes, reveling in all that it offers, just to see famous artists.
photo: Sergey Petrov
Nastasia — Ekaterina Guseva, Parfen Rogozhin Male Komlev.
Set design, on the one hand, is minimalistic, so missing a few chairs, and on the other, leaves a sense of awkwardness and fits to the concept of “at the abyss on the edge”. Going under the grate gates of heaven or hell will break loose, and in a puff of smoke from a narrow cleft appears Prince Myshkin. Welcome to the Russian world! This is not Switzerland. As will appear, and disappear, having at home all the circles of hell. A young and talented actor Anton Anosov plays Myshkin stutterer, ridiculous, but sincere being. He is 26-27, as in Dostoevsky. And he’s the best there is in this play, although tries too hard Sharira oddities of his character. It’s hard to be an epileptic stutterer and I play several hours a patient and a fool.
Oval portrait of Nastasya Filippovna is reminiscent of the grave, though not attached to the cross, not to a gravestone monument, and to the hanger in the house Epanchina. But the feeling is that this hanger from the churchyard. So will be an absentee meeting Nastasia Philipovna. Played by Ekaterina Guseva (in a different composition — Yuliya Hlynina) — fatal beauty a priori, the Grand Dame of this performance. It is inaccessible rises as on a pedestal. Amid the unsightly Myshkin looks wise and had lived on a 25-year-old does not pull, and when pulled up on the stage. But it is a imagine a Nastasia Fillipovna. Dostoevsky this does not apply to you. In the head and sit without having their own archetypes. “The idiot” Vladimir Bortko many watched on TV, obviously did not read, and it is felt by the perception of the hall that is responsive to the replica of heroes. Many hear them for the first time.
Zachary Komlev in the image Parfion Rogozhin — such Parfen what we used to see: a wild, shaggy bear, the millionaire in the sheepskin coat. To a fatal beauty, as Nastasia Guseva, he can’t reach it forever. Only remains to kill. Aglaya and Alexandra girls, are not able to arouse any interest even in this downtrodden creatures like Myshkin. There is neither life, nor speed much at all had happened to their flesh.
Unexpectedly, a notable character in the new version of “the Idiot” becomes the tenant Evolving, official Ferdishenko. That’s really really — how can you live with that name? All Vladislav Sidewalls caricature it corresponds to, depicts Ukrainian embroidery, says a supposedly typical melody of speech. About pseudo tone he, however, occasionally forget replacing it, a La the Baltic. If not it is Russian. Really — buffoon. Pure as a piece the public will accept a Bang funny, Ferdishenko.
A new Christmas Comedy, “Against all rules” Victor Dement among the captured hostages in the Bank have a Ukrainian uncle. Not embroidery, but with exaggerated national characteristics. Speaks with a soft melody, strongly emphasizes, where I came from. Added to the number of heroes for comic coloring, and people in the audience cheers, looking at him. In General, being born a new type in Russian art, as in the joke about the Jew, the German and the Russian. Now about Ukrainian.