Enough Simplicity for Every Wise Man (film, 1971)- This term has other meanings, see Every sage is quite simple (teleplay). Enough simplicity for every sage Genre comedy Director Boris Eduardovich Nirenburg Alexandra Remizova ... Wikipedia
Maksakova, Lyudmila Vasilievna- This page needs a major overhaul. It may need to be wikified, expanded, or rewritten. Explanation of the reasons and discussion on the Wikipedia page: For improvement / November 16, 2012. Date of setting for improvement November 16, 2012 ... Wikipedia
Yakovlev, Yuri Vasilievich- Wikipedia has articles about other people with that surname, see Yakovlev. Wikipedia has articles about other people named Yuri Yakovlev. Yuri Yakovlev Birth name: Yuri Vasilyevich Yakovlev Date of birth: April 25, 1928 (... Wikipedia
Yuri Vasilievich Yakovlev- Theater and film actor Date of birth: April 25, 1928 (81 years old) (19280425) Place of birth ... Wikipedia
Yakovlev Yu.V.
Yakovlev Yuri Vasilievich- Yuri Vasilyevich Yakovlev Theater and film actor Date of birth: April 25, 1928 (81 years old) (19280425) Place of birth ... Wikipedia
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YAKOVLEV Yuri Vasilievich- (b. April 25, 1928, Moscow), Russian theater and film actor, People's Artist of the USSR (1976). Laureate of the State Prize of the USSR (1979, for the films "Earthly Love" and "Fate"), the State Prize of the RSFSR named after K. S. Stanislavsky (1970, for ... ... Cinema Encyclopedia
Repertoire of the Moscow Maly Theater of the XX century- Main article: Repertoire of the Moscow Maly Theater Here is a list of productions of the Moscow Academic Maly Theater of Russia for the 20th century. Contents 1 1900s 2 1910s 3 1920s 4 ... Wikipedia
Productions by G. A. Tovstonogov- List of theatrical performances by Georgy Alexandrovich Tovstonogov (1915 1989). In total, he directed 164 performances in the USSR and 11 abroad. Contents 1 Tbilisi Russian Theater for Young Spectators ... Wikipedia
Frankly, when I heard in the summer that the Taganka Theater was working on a performance based on Ostrovsky, and the director was Vladimir Mirzoev, known for his eccentric and controversial style, my heart began to beat in anxious anticipation. On the one hand, "Taganka" has always been a sign of quality for me (despite the rather weak works of Lyubimov recent years), but, on the other hand, Mirzoev was a "dark horse". In a position where the theater has to each new job to debunk the threatening predictions of skeptics, each step can lead to both triumph and complete rejection of the public. So the autumn premiere managed to interest me even during rehearsals.
So, six months have passed since the premiere, the theatrical mechanism has warmed up and developed, and I decided that the very moment has come when the actors are still inspired by the new work, but there is no longer any fear of the premiere, when the performance is in its best shape and played with all its facets. On a sunny Friday evening, I entered the auditorium of the legendary theatre.
Looking ahead, I can confidently say - the performance was a success!
The director has drawn a portrait of a new generation, a generation of self-confident insolent people whose motto is "the end justifies the means." Glumov, very accurately performed by S. Belyaev, fascinates. He is on the other side of good and evil. He is both a judge, impartially fixing in his "diary of meanness" the low aspirations of the merchant oligarchy, and a puppeteer, pushing foreheads of overgrown mediocre officials with their foreheads. He is their idol (and here the literal metaphor of the stage designer Alla Kozhenkova works perfectly), to whom they are ready to worship, for he personifies all the vile qualities idolized by the ruling class.
The director perfectly felt and displayed the spirit of our time, a time that is "against reforms in general" and in which a person with extraordinary abilities has no choice but to accept the rules of the game and plunge into a sea of intrigue, envy and life "by calculation". The attentive viewer will also not be spared by the interesting stage metaphors generously placed by V. Mirzoev in all the key moments of the action: starting from Asian music (and how can one not recall the Asians with their idolatry of all "powers that are so close to the heart", and Blok's "Scythians" as a reflection of this phenomenon in the Russian soul) and ending with a wooden idol in the final scene of Glumov's exposure, followed by his "offering".
It is impossible not to note the brilliant acting work of E. Ryabushinskaya, who masterfully creates the image of Glumov's mother, who, with her clear example, nurtured and nurtured an unscrupulous chameleon in her son, A. Kolpikova, playing a kind of sophisticated socialite, providing patronage to a young man with "special talents", Ivan Ryzhikov, for some attention (as it seems to me, of all the "Tagankov" works, the most organically he appears precisely in the role of Mamaev). In general, there are no "stalling" moments in the play, and all the actors do an excellent job with their roles.
The director’s manner (and in this case this is a compliment) is especially vividly manifested in the second act: on the sanctimonious pilgrimage at Turusina’s, the holy fools, led by Manefa, fight in a hangover ecstasy (the sophisticated L. Selyutina surprises here with the range of her talent). Glumov, striking with his stubbornness and unscrupulousness, goes over the heads until the "diary" falls into the hands of "scoundrels". It seems that he inevitably slides into the abyss, it seems that one more word - and the end of intrigue! But that was not the case - Glumov declares with disarming frankness that people like him are needed by the "scoundrels" themselves in order to remain in power! And the "scoundrels" agree: "It is necessary to punish him; but, I believe, after a few time you can caress him again ..." - concludes the inexhaustible Krutitsky, wonderfully performed by the "veteran" of Taganka Yu. Smirnov.
The tragedy of Glumov, according to Mirzoev, is the tragedy of a young man with extraordinary abilities who sells his soul to a career idol, because for people like him "there are no suitable places: they are all occupied ..." Who are they busy with and who is responsible for the spiritual death of modern youth?
Watch "The Wise Man" on Taganka - this performance will give you an answer to this and other pressing questions of our reality.
P.S. Leaving the auditorium, my acquaintances and I shared our impressions of the performance, noting the presence of that very, it seemed, almost lost, dashing spirit of the "old Taganka", which always attracted with its hooligan piercing and timeliness.
A rather elderly woman, apparently from the generation of the “sixties”, approached us and asked: “Did you notice this too? My friend and I just talked about the same thing ...”
You can love or reject the new "Taganka", you can lament the inevitability of the changes that have taken place, ignore it, criticize it ...
Only one thing is impossible: not to notice her wonderful creative rebirth. Fortunately, there is certainly a reason for such forecasts now.
Ticket price:
Balcony 1000-2400 rubles
Mezzanine 2400-3100 rubles
Amphitheater 1600-4000 rubles
Benoir 3600-4000 rubles
Parterre 4000-6500 rubles
Stage director - People's Artist of Russia V.M. Baileys
Production designer - People's Artist of Russia E.G. Stenberg
Composer - Sh. Kallosh
Costume designer - N.Yu.Povago
Lighting designer - Honored Art Worker of Russia, Professor E. L. Udler
Directors - A.S. Tsisaruk, V.E. Fedorov
Assistant production designer - Honored Worker of Culture of Russia A.K. Glazunov
Stage movement - S.G. Andrachnikov
Assistant director - Honored Worker of Culture of Russia V.M. Egorov, T.A. Egorova
Prompter - I.I. Varlamova, Honored Artist of Russia L.V. Andreeva
Actors and performers:
Egor Dmitrich Glumov, young man - Honored Artist of Russia Alexander Vershinin, Honored Artist of Russia Vasily Zotov
Glafira Klimovna Glumova, his mother - Honored Artist of Russia Larisa Kichanova, Claudia Moiseeva
Nil Fedoseich Mamaev, a wealthy gentleman, a distant relative of Glumov - People's Artist of Russia Vyacheslav Ezepov, People's Artist of Russia Sergey Yeremeev
Cleopatra Lvovna Mamaeva, his wife - Laureate of the State Prize of the USSR and the Prize of the Government of Russia, People's Artist of Russia Irina Muravyova
Krutitsky, an old man, a very important gentleman - People's Artist of Russia Boris Klyuev, People's Artist of Russia Valery Afanasiev
Ivan Ivanovich Gorodulin, young, important gentleman - Laureate of the Prize of the Government of Russia, People's Artist of Russia Alexander Klyukvin
Sofya Ignatievna Turusina, a wealthy widow, a lady from merchants - People's Artist of Russia Lilia Yudina, People's Artist of Russia Aleftina Evdokimova
Mashenka, her niece - Laureate of the Prize of the Government of Russia, People's Artist of Russia Olga Pashkova, Maria Seryogina
Egor Vasilyevich Kurchaev, Hussar - Honored Artist of Russia Vasily Zotov, Oleg Dobrovan, Grigory Skryapkin, Honored Artist of Russia Alexander Vershinin
Golutvin, a man without occupation - Laureate of the Prize of the Government of Russia, People's Artist of Russia Alexander Ermakov, Oleg Dobrovan, Mikhail Fomenko
Manefa, a woman engaged in divination and prediction - Honored Artist of Russia Olga Chuvaeva, Anastasia Dubrovskaya
Dweller 1st - Galina Mikshun
Attachment 2nd - Natalia Shvets, Natalia Boronina
Maid in Krutitsky's house - Anna Zharova, Daria Podgornaya, Alina Kirillina
Mamaev's man - Andrey Manke
Grigory, Turusina's man - Honored Artist of Russia Pyotr Skladchikov, Pyotr Abramov
Krutitsky's Man - Igor Grigoriev, Alexei Anokhin
Performance based on the play by Ostrovsky "Enough Stupidity for Every Wise Man" in Maly Theater directed by Vladimir Beilis. Despite expectations, the production turned out to be quite classic. Ostrovsky created a play for all time, which does not lose its relevance to this day. “There is enough simplicity for every sage” - the story of the rogue Glumov, who took care of building his career, and for this he decided to take advantage of flattery, sycophancy, as well as the weaknesses of the people around him. It is obvious that there were many such Glumovs in the time of Ostrovsky, there are many of them in modern world, and, most likely, they will not be transferred in the future. Under the influence of the director's view, the play has undergone some changes - now it is in more comedic, rather than instructive, work. Vladimir Beilis thought that there was enough instructiveness on the theatrical stage and decided to put on a performance, relying on acting skills. This step turned out to be very successful. The characters turned out bright, vital, individual. Beilis invited the best stars of not only theater, but also cinema to the production. Irina Muravyova plays the role of Cleopatra Mamaeva in the performance, a fading, but still attractive, passionate and cheerful woman. Mamaeva performed by Muravyova came out somewhat cutesy and too direct, but blooming and ardent. Elina Bystritskaya brilliantly embodied the lordly Turusina on the stage of the Maly Theater. Such "imposing" roles seem to be specially created for her. In the work, the merchant's wife Turusina is a smallish and insignificant person, but the incarnation of Bystritskaya gives this character gloss, dignity and lordliness, despite Turusina's penchant for drinking.
Mamaev - Alexander Potapov - a cartoonish and funny character. This is a down-to-earth person, and his claims to education look so ridiculous that the figure is not so much comical as grotesque. And although against the background of his wife, Mamaev fades somewhat, but nevertheless, he clearly reminds us of the images of typical petty tyrants from Ostrovsky's plays - this is his dominance, and stupidity, and even dimensions. main role- Glumova - Alexander Vershinin performs in the play “Enough Stupidity for Every Wise Man”. The actor did an excellent job with the role. Before us is a man who went on the hunt for money, for a position in society, for women. Glumov, as interpreted by Beilis and performed by Vershinin, looks as theatrical as possible - emphatically sweeping gestures, rich facial expressions, expressive poses. Alexander Vershinin demonstrates here outstanding acting skills, comparable only to the work of Sergei Bezrukov in the same role. But more sensitive and sensual, and the rogue portrayed by Vershinin is mocking, cynical and reserved. This is a bold image, polished and not vulgar. It is impossible not to mention the excellent scenography by Enar Stenberg, which helps to characterize each of the characters even better.
News Time, October 9, 2002
Alexander Sokolyansky
Worked out as usual
In Maly everyone knows how to play it
At the Maly Theater there was a premiere of "Enough Stupidity for Every Wise Man", one of Ostrovsky's best comedies. How many times she was shown on this stage is known only to specialists; how many more times it will be shown, any theatergoer will easily answer: a million. And a thousand times on tour.
"For every wise man ..." - an immortal performance. Even more immortal than the Moscow Art Theater "The Blue Bird" and Vakhtangov's "Princess Turandot". They retain a certain attachment to their original appearance, and "The Wise Man" at the Maly Theater can be staged by anyone and in any scenery. This performance is modified, updated, altered, but in its essence it always remains exactly the same as your great-grandmother saw it.
The critic of Birzhevye Vedomosti M. F. wrote in 1868: “It is clear that the content here is a completely secondary thing, since the main task of the author is to present a gallery of typical personalities<...>Mr. Ostrovsky spared no colors; personalities came out typical and embossed, but exaggerated in places. I join the opinion of my long-deceased colleague with one caveat: Fedorov was not quite right, since he transferred his opinion about the performance to the play.
It is on the stage that the content of this comedy turns out to be “a side thing”. The performance staged now by Vladimir Beilis is unlikely to break the tradition: the director cared much more about the "relief of personalities" than about understanding the plot.
Ostrovsky, after all, presents us with quite scary story. His hero, Yegor Glumov, smart, evil and talented, at the end of his youth decides: stop fooling around, it's time to make a career: to flatter, lie and please. His conscience torments him a little, but the hero finds a compromise: “All the bile that will boil in my soul, I will sell in this diary ...” - and the diary, of course, will surface at the most critical moment. It will be publicly read, all Glumov's patrons will be terribly offended, and the new fate, before it has even begun, will crumble to dust. Glumov will have to start all over again - and now he will have to be mean without any compromises.
A decent person, Ostrovsky explains to us, is quite capable of infiltrating a society consisting of large-caliber fools and prosperous scoundrels. At the same time, however, he will not gain anything for himself, and in the end he will have to say goodbye to the remnants of decency. Is it okay?..
Essentially speaking, the role of Glumov, the "scoundrel hero," is meant for a great actor, such as Lensky in the Maly Theater (1876) or Kachalov in the Art Theater (1910). In Beilis's production, Alexander Vershinin conscientiously performs it - not in the least claiming to be the leader in the plot. The most important figures are those who are the most “embossed”: the rich hypocrite Turusina (Elina Bystritskaya), the retired general Krutitsky (Viktor Korshunov), the voluptuous Cleopatra Mamaeva (Irina Muravyova), etc. They play imposingly, sweepingly, with an arrangement. Everyone, thanks to the inventive Beiliss, has his own knuckle. Turusina has a secret decanter with tincture (her heroine has not yet completely said goodbye to the sins of youth); Krutitsky (the youngest of the Krutitskys I have seen) has cast-iron weights for gymnastic exercises ... Muravyova uses her characteristic facial expressions with might and main: she purses her lips, puffs out her cheeks, bulges her eyes and clumsily plays with a fan - this partly looks like a caricature of her former roles of passionate provincials (“Moscow does not believe in tears”, etc.), but apparently it was intended that way. Of course, this premiere will be a success - smooth, quiet, long - as it should be at the Maly Theater.
Culture, October 17, 2002
Irina Alpatova
Ostrovsky "out"
"Sufficient simplicity for every wise man" in the Small
As you know, the young man Yegor Dmitrievich Glumov decided to preface Krutitsky's retrograde treatise with a fateful title: "On the Harm of Reforms in General." By the way, this phrase is partly relevant for the Maly Theater itself. It's not that all sorts of reforms are really harmful "in general", but in the Small they somehow don't take root too much. When they want the best here, it turns out not as always, but sometimes much worse. Perhaps that is why the director of the next version of "The Wise Man" Vladimir Beilis decided to follow a rather traditional path, that in this situation it is not a reproach, but quite the opposite. The director chose not so much to impose his vision of the play on the audience, but rather to hide behind the actors, presented, as usual in the Small, close-ups, and even coupled with spectacular solo numbers. Therefore, the audience impression directly depended on the level of acting professionalism, temperament and taste boundaries.
Beilis, of course, did not forget that Ostrovsky's play is relevant for all times, but he took it for granted and did not slow down on allusions. Although often this or that remark was drowned in spontaneous applause. Another more important thing is that the director did not renounce the genre definition of "comedy" and built the action entirely according to its laws, that is, he mainly entertained, teaching only in part. This genre justifies a lot - both musical and dance busts, and falling into a caricature and caricature, and certain acting "liberties".
However, the eternity of the Russian plot is wonderfully reflected in the inventive scenography of Enar Stenberg. Three eras of the century before last, inscribed in the life of the inhabitants of Moscow, easily converged on one stage. The apartment of Krutitsky, an admirer of the Lomonosov-Derzhavin odes, pleases the eye with classicist paintings on mythological subjects, a dummy of a knight, a bronze cupid, as well as numerous deer antlers. The Mamaevs have a more modern entourage, with graceful portrait "heads" and imposing mirrors. Glumov, on the other hand, ennobled his modest dwelling with photographs and paintings of an impressionistic nature. When the scenery changes, the revolving and darkened stage is hazy. Nothing but the "smoke of the fatherland."
However, like external signs, the lifestyle of homeowners is tightly merged with their favorite era. They don't want change at all. In an established world they feel like fish in water. "Liberals" or "conservatives" except that they are reputed to be surprised by the sonorous names. And from boredom amuse themselves with frivolous activities. Here is Nil Fedoseich Mamaev - Alexander Potapov, for example, likes to keep an eye on apartments. He comes in, looks around, sits down imposingly and let's grind with his tongue, interspersing banalities with teachings, accompanied by a raising of the pointing finger. The aged Krutitsky - Viktor Korshunov does not even want to think about his years - he easily manages heavy weights, he is not averse to immediately giving out an incendiary "saber dance", for which the last attribute is borrowed from a knight. To the ladies' sex, a big hunter - looks after both Turusina and his own maid (Anna Zharova). For nothing that drinks only milk. What can not be said about Turusina - Elina Bystritskaya. The prude widow has in her watch a cunning cache of liqueurs, to which she now and then applies herself with all the ensuing consequences, such as singing romances and simple dances. In the end, the tongue is completely tangled, and the lady prefers to calm down on the couch.
In general, the luminaries of the Maly Theater are allowed to "break away" and hooligan to their heart's content. Add to this the hilarious Manefa - Tatyana Pankova with her eternal jokes and the same desire to break into a dance, despite the solidity of complexion. They do it with visible pleasure, the reaction in the hall is appropriate, despite the partially lost acting "virtuosity". Although no one demands the "life of the human spirit" from them, comedians are allowed some roughness of form and content. Those who are younger, however, also do not lag behind. The puffy Cleopatra Lvovna Mamaeva in the temperamental performance of Irina Muravyova flutters around the stage like a weighty pink butterfly, flirts recklessly, trying with all her might to prolong the elusive amorous pastimes. To match her and the brave Gorodulin - Alexander Klyukvin, a kind of mixture of a loud martinet and someone of a high-ranking person.
It is clear that the novice "careerist" Glumov - Alexander Vershinin will cope with such a company without difficulty. You even think, is this game worth the candle, and the game is worth the candle, if the goal of all this is to be in such a company? Vershinin, who successfully mastered the role of a cynic scoundrel while still in the role of Molchalin, confidently fits into this game, provoking it. Easily gives out a cascade of comedic constructions - from righteous anger to flattering subservience. He fawns and shouts, falls on his knees and walks around with a wheel, lies and confesses. And when, in the revealing finale, he jumps into the auditorium and from there recites his last sarcastic monologue, one just wants to push him: if you would run away, Egor Dmitritch, away from here, you look, and you would survive mentally and physically. However, Ostrovsky does not provide for such a finale.
Vek, October 18, 2002
Alexander Smolyakov
Here the sage will not answer
Ostrovsky was "modernized" in Maly
Ostrovsky was once again staged at the Maly Theater. They put on a play known and often going to different scenes“Sufficient simplicity for every wise man.” This is the first premiere of this season, the performance is undoubtedly a programmatic one - even a specially published newspaper is offered to the attention of the audience, where the stage director Vladimir Beilis explains the features of his interpretation and substantiates it. What is offered to the audience? ..
The artistic director of the academic Maly Theater Yuri Methodievich Solomin, in an interview given to the author of these lines, said: "The Maly Theater is a classic, it is the tradition of the Russian stage." In this case, "There is enough simplicity for every wise man" offers a very unexpected, if not strange, interpretation of these traditions.
Turusina here "so wants to sing and dance that she even begins to drink." To match her niece Mashenka - "a sexually horny girl, for whom the main thing is if only there was a man." Do not think that the above is a vicious libel of a young theater critic (and it is customary to scold young criticism today) on a famous team. The quotes enclosed in quotation marks are the words of Vladimir Beilis himself, given in the above-mentioned newspaper. Continuing what he started, it would be appropriate to call this review "A sexually horny girl on the stage of the Maly Theater." Only respect for the great Small keeps...
However, let us leave the printed opus of Beilis and turn to his stage opus. It all starts with cheerful, sort of cancan music by Shandor Kallosh. Then, for some reason, they reveal to us the entire depth of the stage space, but filled with smoke. Then a screen descends, indicating Glumov's room. I must say, by the way, that the scenery of the untimely departed Enar Stenberg is perhaps the only undoubted success of the performance. Dark draperies, which create the feeling of a conditional 19th century, go very well with quite everyday props. The decor of Turusina's house delights with the riot of autumn colors, contrasting with the white muslin of the curtains.
Alexander Potapov plays Mamaev, all in a preoccupation with being characteristic. His Mamaev, a slacker and rhetorician, teaches Glumov with such immense pleasure, and then with such naivety he believes in his flattery that there is no need to talk about any plausibility in behavior. The image of Mamaev was written by the playwright with a fair amount of satire and not without elements of the grotesque, but what is not there is unambiguity!
Irina Muravyova (Cleopatra Lvovna) now skips around like a girl, then suddenly speaks with “sensual” intonations, forcing a farce, and, to be honest, this comedy blows with a painful feeling of straining.
Only Alexander Vershinin in the role of Glumov, as it seems to us, gropes for his consistent tone. He clearly distinguishes Glumov when he is alone - without witnesses, and Glumov in public, as if hiding under a mask. In the finale, this character becomes cold and impudent. He does not denounce, he only states, reports the facts, and here suddenly the modern that is in this play by Ostrovsky begins to sound.
The supporting roles (Turusina and Krutitsky) are played by recognized masters - Elina Bystritskaya and Viktor Korshunov. You look and think: how insultingly little they are in the repertoire today! You fantasize: after all, how interesting Mathias Clausen's Korshunov could play in Before Sunset! And what a magnificent Elizabeth Tudor in Schiller's tragedy Bystritskaya could have become! Fortunately, Schiller is not a stranger to the Maly Theater author.
The duet of Turusina and Krutitsky begins naturally and even elegantly. They coquettishly exchange remarks, as if making an elegant parody of a classical operetta. But the director inexorably destroys the mood created by the masters, coarsens and pedals - and now Krutitsky fills up Turusina on the sofa, merging with her in a kiss ...
Beilis introduced the most serious acting forces into his performance: Potapov, Muravyov, Korshunov, Klyukvin, Bystritskaya, Pankova ... Why? In order to “modernize” a classical play in such a primitive way?
Many young people, even schoolchildren, came to the premiere of The Wise Man. What will they take away from the performance? Now they will tell in the literature exam that Turusina is an alcoholic?! And how to explain to them that the Maly Theater is a shrine for every cultured person in Rus'? Any sage will be at a dead end before these questions.
Literary newspaper, November 21, 2002
Gennady Demin
Hunting for women
Having visited the last premiere at the Maly Theater, you feel sympathy for feminists. Because “Enough Simplicity for Every Wise Man” is a performance that demonstrates the strength of the fairer sex. The work of almost each of the participants in the production can be considered for a long time, carefully, with pleasure, as a valuable work of theatrical art.
The stunning Tatyana Pankova as Manefa, a dark and impudent, stupid and all-powerful fortune teller: she really has animal power - from her mere glance, as from the eyes of a boa constrictor, they freeze and tremble, losing their strength, those around them.
Victorious and touching, regally capricious and hilariously simple-hearted, sincerely suffering from her own stubbornness and just as naively despotic Turusina in the attractive Elina Bystritskaya.
Glumov in Claudia Moiseeva is a crafty and fussy petty-bourgeois, a creeping and tenacious creature, avenging the whole world for her own failed life.
Luxurious and inventive Irina Muravyova, in whose Mamaeva the dissatisfaction of withering female flesh and pretentious romance are intertwined into a whimsical, sophisticated and ridiculously funny pattern.
All gestures, movements, intonations of actresses want to be savored like a gourmet, enjoying every second their appearance on the stage of Ostrovsky's house.
For such brilliant diamonds, an appropriate worthy setting would be needed. Alas, they ended up in the hands of director Vladimir Beilis, who was clearly insensitive to their charms. If the stage designer - one of the last works of the recently departed Enar Stenberg - gave what is happening a cosmic scale, filling the huge space with an alarming pre-stormy atmosphere, then the director, on the contrary, is complacently depressing. Lazily slow rhythms fetter the performers, deprive the action of tension and elasticity. One of the best Russian plays with tight intrigue translates into a languid narrative in which the acting energy is wasted.
True, at the end of the performance, the director seemed to start up and decided to compensate for the dullness of the previous one with a defiant technique: main character jumps into the auditorium and walks among the audience, sending revelatory phrases to those left on the stage. Such modernization of the classics was in fashion 40 years ago, and today it only emphasizes the contrast between the brightness of the acting and the secondary nature of directing.
I remember that in some season the experts of the Golden Mask declared that not a single full-fledged female work could be found throughout Russia. It seems that the unfortunate specialists found followers, the attack on actresses continues. But to no avail - against the gray background of the production, the inflorescence of female images is only brighter.
