Russians, Ukrainians, Jews — lived together, and die went each into his or her graveyard. It is not a chronicle in the news today — the beginning of well-known plays Gorin’s “Memorial prayer”, written in 1989, and tells of the events that took place in tsarist, pre-revolutionary Russia. Classic then and is a classic that does not lose relevance than ever – but even a bitter that work Director Dalmatian is not the site of memory — life. Here and now: 2017-th, the anniversary of the October revolution, and it is clear that it is no coincidence that back to the acute problem of “their own-alien” and search for the answer to the eternal question — “against whom are friends”.
Photo: Theatre of the BRIDGE.
That’s how the human consciousness that lives with an eye to what it was – not to avoid comparisons with the brilliant performance of Lenkom Mark Zakharov with Yevgeny Leonov, Aleksandr Abdulov and Tatiana Peltzer. To this day, each new production of “Memorial prayer” (and their country is already a lot) is risky. And for Director George Dolmazyan do own: as he admitted, “MK”, from the play, seen in 1993 in order, he began his great love for theatre arts, the play he “had” not yet decided “ready”. “You can’t take it for Billboard, box office, actors – only if burn, really burn…” – said the Director.
For starters he needed to find an actor who could embody the multi-faceted image of Tevye the milkman and hold the audience’s attention from the first to the last scene of the play. This artist was Eugene Nikulin. The role of Tevye for him – the qualifying examination, with which he copes by serious internal work. His character is a little man with a big heart, the head of the family, the father of five daughters, finds himself in the epicenter of the beginning of the persecution of the Jews. And if at first, in the first act, mistakenly thought that my juicy Jewish humor, told the story of the inhabitants of Anatevka, funny and vain – not life, but the anecdote, the sudden change from Comedy to drama happens in a second: wedding laughter gives way to a tragic cry. All, as in life, molnienosno changing. And here already on the scene policy, the new government, new laws, and neighbors-friends turn into your guards.
Before the audience the drama of human life, the history of the people and the story of one family. Every character here is a living character. It is impossible to stay in tune, playing “the prayer for the dead”, this play Gorin based on the texts of Sholem Aleichem – the product crystal-cut, powerful, but deftly reveals the lack of professionalism. Of those scenic materials that can magnify Director to the level of genius, and can destroy, revealing his professional helplessness – one awkward movement, incorrect built light, tasteless scenographic decision or the recapitulation in the wrong place would kill performance in blink of an eye.
George Dolmazyan, it seems, especially not doing accents, and not negotiate the viewer’s attention to the national conflicts, which now and then break out with new force. The Director as it recedes into the background, doing without protrusion of creative ego – his lack of taste and tact to solve all without styling, modernizing and obvious fit in today’s discourse. But despite this, even the Gorin phrases “in Kiev riots,” “…the students, Yes the Jews are the people concerned”, “order prevails when there is freedom” is enough for recognizing and approving audience smile.
Especially familiar seems like the impulsive character of the play the student Perchik. The future revolutionary, convinced that “the right not to give the right to win” – he is decidedly ready for any fate, except the slave. He asks – demands to be considered and is not afraid of neither conflict nor open resistance. Actor Georgy Antonov (in the previous performance of Dalmatian “4 Luba. Thaw” he’s played by Yuri Gagarin) sometimes too, with the excess invested in Gorin text feverishness nature and associative thinking, how many of these passionate young men died for the idea in tsarist Russia and how many die now.
Wife of the dairyman Tevye, Golda plays honored artist Liudmila Davydova. The female role is Central, requiring not only acting exposure and with a long breath, but plasticity is to work as a Comedy and drama field. Truly the most emotionally touching and the scene becomes a monologue Golda before death: how it invisibly supports daughter Tzeitel (Natalia Dedeco) who gives birth, as it speaks to how drawn into the void, alone in a darkened space – it seems, was not the audience, not sentimentality to tears. Birth and death are side by side, tit for tat… Actress Davydova has to play at the highest nerve, emotionally building up the scene so that the hall fades, forgetting to breathe. And when she, throwing up his hands, like a big white bird, dies – the lights go out, symbolizing the death. But death is not here, because in the final scene appears again Golda, invisible for all: memory is a those who once left.
As a drama about human misery, when one is unable to confront public and private historical ground, turns into a very vivid and human story of one family that gets higher social class differentiation, ethnic and religious prejudices.
In the open final, which would be a sad note, it appears Menachem-Mendel (brilliant and delicate work of the Famil Veliyev) with his mother, and all the ends of universal joy, when even tears left, comes to the aid of laughter. So today, in the centenary year of the October revolution, is also – it is good there where we are not, but you can always laugh, even when things get bad.