in fact, “the Seagull” Director of Lithuania flew like a kite. But not devoured her, and at first downright stunned by the unexpected interaktiv on the topic “Chekhov and the contemporary”. The audience still taking their seats, and vengeance is a fiery action. Artists around at home, in a free manner, and deliberately loud talking, are presented to the audience, teasing each other.
— In hostage this game of words — canecorso. The Seagull is a bird. Kite — Director Oskaras koršunovas, — broadcasts in the hall Daria Moroz in summer white pantsuit. All the bitter, emotionally-turned up — for a long time it is not seen.
And artists, is not opposed to them public selfies, fotkalis and is directly sent to the social network. What I do, I posted frost and his comrades: “doesn’t work #canecorso at the Moscow art theatre!” He immediately went to the huskies. Here it is, the picture of the world today — no day without a line, and myself in social networks. And you say — art! It’s just an excuse to remind the world about yourself, and let the whole world rest.
still, the Moscow art theatre is a theatre not just any fashion, but we can say that the main drama, with serious ambitions in shaping the agenda of the Russian theatre. However, this new leadership in the person of Sergey Zhenovach (second season at the helm) do not declare publicly, not manifests, but is the poster from which this follows. Started with “Run” Bulgakov, continues Viktor Nekrasov and his strongest novel “In the trenches of Stalingrad”. Called the artist with loud European name of Koršunovas from Lithuania and gave him a very (!!!) “The Seagull”.
Obviously realizing that his responsibility, like it or not, is historical, koršunovas however, was not cautious, and went for broke, using all possible methods (and even stamps) today, but in his own translating them into the language of theatre. In fact, this interaction with photochemi — for fun or the beginning of the play? But somehow this trend “Overture” go completely unnoticedaudit in the performance, or rather, once in two Chekhov (the beginning of the first act) and Treplev K. G. (at the same time).
I Must admit that Lithuanians could this deception, which is the point, sometimes in the same scene, this deception exposes himself, takes over the audience, only provide the rules of the game. Theatre in the life and the theatre on the stage of the Russian people, it seems, a long time is messed up. No wonder the same “Seagull” is a phrase that can be considered for understanding the national mentality almost key: “Artists we love more than merchants.” In translation from Russian to Russian — pretenders, the hoaxers, Mittersill and even freaks, and not individual people, which use still more.
so the Koršunovas the lives of the inhabitants beside a Magical lake invented, because largely false. Adjusted to today’s realities — even glamorous. The Central figure here, without a doubt, the actress Irina Nikolayevna Arkadina. Played by Darya Moroz, and the actress certainly to be congratulated on the interesting work and break out of that emotionless, internal stress state, where she was on the stage ten years thanks to the Director Konstantin Bogomolov. Here frost is good, bold, clever mimic, but clever and ironic. Last find out her own replica, democratically made by the Director to the classic text. So, the theater sitting down to watch the play of the son performed by Nina Zarechnaya, as it were, in reverse throws: “Everyone knows how we play and how much to get.” Here such phrases from her partners, and those between them will be in moderation, not excessive, and they will not insult the text of the classic. Moreover, in a strange way they will give breath to the performance of its atmosphere. At first, as if carefree, playing, stage, which will show a broken life, in General, everyone who lives near a Magical lake.
the theatre in the theatre comical (a lot of laughs in the first act), but with a tragic outcome, the Director has decided to strengthen the two techniques: the first — microphones, which in the Moscow art theatre, in the cradle of the cult of elocution, not very much resorted to; and second screens, what is here in order. Operator and video Director is Constantine himself Treplev, virtually the Issuer of the camera. Parallel videoing comes in two scales — the real, on stage, where is Zarechnaya (“People, lions, eagles and partridges…”), composed of four smaller screens, and the sharp increase in the size of the backdrop over the lake, — superlarge plan.
by the Way, the space itself (koršunovas and artist Irina Komissarova) is also solved as a two-dimensional theater, where in the foreground there are three curtain — classic, red velvet (the sublime and the comical pretense), neutral light (transition, wait and see) and black (darkest, most boring). Behind the transparent wall that separates the stage horizontally, open life with a bath and a lake, whose waves cast the computer a formidable steel.
All three then merge theatre — on stage and screen, then break into pieces. That famously and masterfully, it is boring and tedious anguish. But we must pay tribute to the Director: scenes, relating to characters or the most important moments, the Director deliberately slows down the action to about every character said, “this (This) is the entrance Koršunovas(th)”. Oh: and put, and the more they are going to play don’t pass. A scene Arkadina’s son (“Mom, you should change the dressing”), all the scenes Sorin (Stanislav Lyubshin), Masha (Svetlana Ustinova) — the incarnation of naturalness, true love, and Eugene Dobrovolskaya (to Polina Andreevna who in “the Seagull” all the female roles) are strange strange, her character — as a victim of his own illusions. Unusual for the public will be Stanislav Doinikov in the role of Dr. Dorn and Igor Vernik in the role of the writer Trigorin, both fine work on the piano.
not passing Shamraev (Eugene Fed) and the teacher Medvedenko (Pavel Vorozhtsov). Perhaps the interpretation of Konstantin trepleva (Kuzma kotrelev) and Nina Zarechnaya (Paulina Andreeva) leaves the questions: is he only a representative hypersenitive generation, and only a tenacious glamour? Or the inexperience they have not found other colors? Or Director did not help? Although the scene of Constantine’s mother says about the potential of a young artist, speaking in quite rare now the role of a neurotic.