Brecht Caucasian Call Circle. Theatrical poster - reviews about the performance

Brecht Bertold

Caucasian Chalk Room

Bertold Brecht

Caucasian Chalk Room

In collaboration with R.berlau

Translation S. Apta

CHARACTERS

Old peasant on the right.

Peasant woman right.

Young peasant.

Very young worker.

Old peasant on the left.

Peasant woman left.

Female agronomy.

Young tractor driver.

Wounded soldier.

Other collective farmers and collective farmers.

Representative from the capital.

Arkady Cheidze - Singer.

His muses Kanta.

Georgy Abashvili - Governor.

Natella is his wife.

Mikhail is their son.

Gogi - adjutant.

Arsen Kazbeki - Bold Prince.

Equestrian messenger from the city.

Hiko Mikaze |

Mija Loladze |

Simon Hahava - Soldier.

Pear Vakhnadze - Court! Washing.

Three architects.

Four maids.

Cook.

Servants in the governor's palace.

Lakers and soldiers of the governor and the fatty prince.

Beggars and petitioners.

Old peasant selling milk.

Two noble ladies.

Innkeeper.

Worker.

Efreitor.

Stubborn "Duby".

Peasant.

Three merchants.

Lavrenty Vakhnadze - Brother Pear.

Aniko is his wife.

Their employees.

Peasant woman - Temporary beetroot pear.

David is her son, husband pear.

Guests at the wedding.

Azdak - Rustic clerk.

Shalva is a policeman.

Old man fugitive - Grand Duke.

Needle Arsen Kazbeks.

Extortionist.

The owner of another inn.

Tamara - the owner's daughter-in-law.

Owner worker.

Old poor peasant woman.

Heraclius is her liking, a gangster.

Three fists.

Schuboladze |

) Lawyers.

Sandro Oboldze |

Very old married couple.

Dispute about valley

Destroyed Caucasian village. Among the ruins are sitting in a circle, drink wine and smoke the collective farmers - delegates of two villages, in most women and older men. There are several soldiers. A representative came to them from the capital

state Commission for the Restoration of the House.

Peasant woman left (shows). Won there, in the foothills, we detained three fascist tanks, but the apple-garden was already destroyed.

Old man right. And our dairy farm! There are alone ruins!

Young tractor driver. This I set fire to the farm, comrade.

Representative. Listen now the protocol. Nuku arrived a delegation of the Ashheti sheep's collective farm. When the Nazis fell, the collective farm in the direction of the authorities hijacked his herds to the east. Now the collective farm raises the question of re-evacuation. The delegation got acquainted with the state of the area and found that destruction is very large.

The delegates to the right are nodding affirmative.

The neighboring fertility collective farm named Luxembourg (referring to the sitting on the right) makes a proposal to use the former pastures of the collective farm "Ashheti" under fruit growing and viticulture. This land is a valley, herbs there are bad. As a representative of the recovery commission, I suggest both villages to solve the issue itself, the collective farm "Ashheti" should return here or not.

Old man right. First of all, I once again protest against the rigid regulations of the speeches. We traveled here from the collective farm "Ashheti" three days and three nights, and now you want to discuss just half a day!

Wounded soldier on the left. Comrade, we now have not so many villages, not so many working hands and not so much time.

Young tractor driver. All pleasure needs a norm. Tobacco normally, wine normally, the discussion is also normal.

Old man right (with a sigh). Damn the fascists! Well, I will speak essentially. I will explain why we want to regain our valley. There are a lot of reasons for this, but I will start with the easiest. Makine Abakidze, expanded cheese.

And h Articles of Maya Mamaladze "Robert Sturua" in the journal "Theater" (2008):

"The world boom around the name of Sturoa began in 1975 from the play" Caucasian Calling Circle "of Brecht, which has become a business card of the theater. The play, which looks absolutely alive to this day and even more relevant today than in the year of the premiere. Other from his first performers died, others continue to play their role to this day. But there is one, indispensable categorically - the great Chchekvadze. It is no longer listed in the troupe due to severe heart disease and rarely, but still comes to play a scene one role - Judge Azdak.

From a broken white cocoon, in which the artist Mirian Schvelidze painted "Quarkvar", in the speaking artistic form, all sturra were concluded. Thus, in the "chalome circle", a real scenographic revelation of Steel, George Alexi-Meshishvili, who hung up with a cloth, something average between the web and the wheels of the cart, a sacrament of a horse, a sacrificial lamb on a stand with wheels, covered with Easter candles. With the "Circle" began the constant creative symbiosis and the personal friendship of Sturua with Kancheli's personal friendship, now one of the best composers of the world, then - the Rustaveli theater is the Rustawood. "

From an interview with "Robert Sturua about artists and work on the performance of the" Caucasian Call Circle "in the Russian Gazette (2008):

"Always preparing for certain main points, milestones, from which you repel, pointers to the fact that you have conceived. By the way, then these pointers need to be destroyed - or they themselves rushed after the first rehearsal. I somehow imperceptibly became very pleasant with my artists. We are almost equally thought with them. More precisely, they think, as I thought twenty years ago. I now became somehow a different approach to performances, sometimes even repeat. But they suddenly find some moves that I once invented, and we raise the records - yes, here they are, my faiths. I sometimes say that I am a heavy and proud person. But the director in principle should forget about pride and pride once and forever, I think so.

- On the TV channel "Culture" to your anniversary show your performance "Caucasian Calling Circle". What does it mean now for you? Changed after so much time something in your attitude to it?

- Now he causes nostalgia, because he is no longer the one before. He seems to be aged with me. Well ... you can guess what he was. It is like old, shredded frescoes that look better than when they were new, unshaking, integer. Sometimes this older, Patina of time - she attaches its aesthetics. Here is the same Venus of Miloso, it would be possible to make hands to her back, but it would be something else, it would be kitych. However, I wrote a few small essays to my anniversary here, and here is one of theses there - I ask you never to talk to me about the "Caucasian chalome circle".

From an interview with Robert Stura in the magazine "Results":

- You brought our longtime legendary performance of 1975 "Caucasian Calling Circle" to Moscow, which recently resumed. Did he somehow change since then?

- I did not change anything in it. I generally remember him very well, the actors who entered him, know better. I myself do not understand myself, what is the secret here. I am pleased that he likes so much that he is still alive, if, of course, the viewer is not impressed by the word "legend." I will be better silent, I will only say that I had performances and better. In any case, I think so. But they died, and he is alive.

From the article E. Etkinda to the book "Bertolt Brecht. Theatre. Pieces. Articles":

The "Caucasian Circle" play was written by B. Brecht for two months in 1945 and recycled in 1953-1954. For the first time published in 1948 in the Journal of Sinn Und Form and the final edition - in the collection of Versuche, Heft 13, Aufbau-Verlag, Berlin, 1954. Russian translation - S. Apta - published in the book: B. Brecht, Pieces, M. , "Art", 1956.

The idea of \u200b\u200bthe play belongs to the twentieth years, when Brecht saw the ancient eastern drama "Chalk Circle" in the Berlin Lessing Theater, treated with Clabund (1890-1928). Only after almost a quarter of a century, Brecht wrote a prosaic work, in which I used the plot treated with Clabund: In 1948, the Novosela "Augsburg Cretaceous Circle" (Badenbaden, Das Goldene Tor, III, I, S. 80-92) was published.<...>

As another storyline, the famous biblical parable of the court of King Solomon, who told the sword to cut the baby and give away from each of the women who apply for him: So he found a real mother who was opposed to this murder and was ready to abandon the child in favor of His rival. Brecht, both plots turned out to be essentially processed: both in the novel, and in the play of the real mother, it is not the one that is associated with a child bonding blood, but the one that has grown and raised him. Genuinely human relations are more important than formal relatives - this is the idea of \u200b\u200bBrecht. "

It would seem that this story was told us many times. The girl did not wait his beloved from the war. Hundreds of books and films tell about such a situation. Dishwasher Pear Vakhnadze gave a promise and - did not hold it down, what's so special? Everything happens in life, feelings faded, a new love is born. But, meanwhile, this is a very unconventional story. Why is a girl ready to endure and suffer again and again? What does she break his life for? As Once upon a time, Tsar Solomon, Brecht again asks questions to the audience. What is more important: love for a man or love for the child?
Very leisurely, thorough, with many details, tells the German playwright history of the Georgian peasant. More precisely, not even he, but a narrator whose role was brilliantly performed by Sergey Rubekov. And the Orchestra "Round Bend" helps him, who fulfills the music of Paul Dessau, and the participants of the play, singing the zones. Actually, on the website of the theater, the performance is declared as "Jazz Road Mugvi".

The action of the performance occurs in very conditional Georgia at a very precious time. It seems that Brecht had to create a semi-fairy tale from the viewer, which occurs somewhere far to the edge of the world. Therefore, the viewer sees not a specific Georgia, but is a rather abstract country immersed in the bunch of civil war. Director N. Kobelev, Artist-director M. Kramenko and the artist on costumes M. Danilov went along the same way. The surnames at the Georgian heroes, but there are no typical Georgian character traits. In some costumes there are elements of national clothes, but a military uniform or, for example, a pear dress and natelles are quite international. And it helps the audience better to understand the heroes, brings the characters to us, now living. The gamma of the performance is withstanding in red-white-black tones, which brings the thought of fire and ash. Fire, which burns pear and ash, which is worn out of the ground after the fires of the civil war.

Young actors and recognized masters of the Russian theater and cinema are occupied in the play. A pair of pear-simon is played by Y.Solthamatin and E. Matveyev. They are so touching, so young, then sincere and impurpical, then hostile and incredulous. A very vivid role is a natella, the wife of the governor (D. Roturnova). Amazingly beautiful appearance is clearly in contradiction with the inner world, for it is not interested in the fate of his son, but - the estates that he can inherit.
The undisputed star of the play is Igor Kostoloshevsky. His azdak, a judge and a former clerk, a passion and a drunkard, a bribemer and a womanizer, is a surprisingly interesting character. It is not an angel at all, he, nevertheless, is trying to obey the interests of not the strong world of this, but - ordinary people and, as can, contribute to justice.

So why exactly now in Moscow put a play written by the German author more than half a century ago and telling about Georgia? Probably because we all need hope. And the confidence that good deeds deserve gratitude, not punishment. This is a very bright performance that will not leave anyone indifferent.

Not that in order to be unexpected for Breht, but it turned out that this play is a criminal drama, a military tragedy, and also - optimistic and lyrical. Long and fascinating simultaneously turned out from the theater. It's nice to see the folding plot on the stage without obvious shortcomings, seams and inefficiency, which you have to see under the guise of modern dramaturgy not rarely.
There is a lot of interesting things. For example,
I. Kostolovsky - Star. And, as the stars are typical, overshadows a lot nearby. But not all.
His azdak is a squeezed judge, a nice drunkard, a virtuous chericar and charming loud. He has high growth and charm, on it - bright clothes. It is clear that the decision of such a judge will be correct. We trust him completely. But so far it comes to the matter, it will be not that is all life, but probably half a life of heroes, in importance.
So Olga Prokofiev (as mother-in-law) do not overshadow. She is the fire and flame, a bright character. Suddenly, after any serious, cheers - the comic couple was formed - mother and son, and indeed, terribly funny all this: a wedding topic with funeral. The scene in the bath is unforgettable. Actor Alexey Fursenko was sitting in the bath, as a false husband, and enjoyed the public, in clothes without.
The main heroine is a pear, Julia Solomatina played her.
Young characters - they are boring for now. What a pear is that her bridegroom Simon Khahava (Evgeny Matveyev). Current and touching, drive into sleep. It is good that in a pear - a red dress, it goes, it highlights and eyes are not closed. Pear here is the most important figure. Poor girl, responsible maid, beautiful and unborn, hardy and devoted.
How mother wins bio-milf in court. Governor's wife, Daria Deloennova, is a negative heroine, but the right has. For blood is not water as if.
Well, it happens that the water is just, and even urine, in general.
What this cool play is told to us.
Allowed and crying (because it is sensitive, the fate of children) and laugh (Olga Prokofiev and Alexey Fursenko, Bravo!) And hope for justice even in our world.

I liked everything! And Intrusted as Lan Pear (Julia Solomatina), strong and strong, despite youth.
Such sincere, such a real.
And a dying husband (Alexey Fursenko) - especially for the scene in the trough :)
And azdak passion (Igor Kostoloshevsky) is so charming that everyone was ready to forgive him all his antics.
It was because of Igor Kostolovsky, I really wanted to see this performance. And it was worth it! Bravo!
And, of course, I could not help me like Soldier Simon Hahava (Pavel Parkhomenko) so sincerely loving, always ready to come to the rescue
and so similar habits on the Georgian :)
But she struck me in this play, mother-in-law.
Olga Prokofiev - brilliantly coped with this role! Until now, I remember these trays, pies, this gustiness and swiftness.
No seconds doubted that it was a real Georgian mother!

This is in fact an amazing performance, from the very first minutes inside what is happening so much that it is possible to wake up only felt pain in your own palms during final applause.
And before that you will not just empathize what is happening, you will live with the heroes. Catching geese, glorify in the mountains, get tired to trembling in your lap, drink pair milk, walking over the abyss, fear and love.

Go to the theater!

Fairy tales are not my favorite genre, but passed through Brecht. "Caucasian Calling Circle" - Everyone knows everything, and the formulation is really very curious, although I had the impression of the unbound of some scenes.
But in the theater something with sound and microphones. And in the choir of girls stands fake, and she was given to her the main Aria ... Apparently, it was specially impressed and remembered. Until now, screeching in the ears.

Remember the children's song? "If good you are, it's good, and when the opposite is bad." A kindness is the most vulnerable quality of a person, as it seems to me. Uncomfortable, unnecessary, no income, only some problems. And appreciated in a modern cruel world for almost a penny. But in the song Nevertheless, truth. And "when, on the contrary," is really bad, and not only to you, but to the whole world. It turns out so.
I watched the premiere of the Mayakovsky Theater and thought about the brittleness of kindness, and about her incredible survivability. And about how through the performance, its main topic, and those methods and funds with which she actually opened in this performance can be felt and understanding the identity of the director. It is personality, not just his style and handwriting.
Nikita Kobelev set the Caucasian Call Circle "B. Brecht in Jazz style. On the stage (or rather, in a small orchestral pit), the musicians played all three and a half hours. I sat in the bed of Benoara, close to the ramp, and perfectly seen their faces. They were not just played, but empathized what was happening and took an active part in action. And music, and appearance, and gestures created a magic Georgian atmosphere. And the events took place terrible: war, murder, severed heads of opponents, baby, forgotten by saving her mother's life, chase, courts and disassembly. But Jazz all the time led out, gave hope, soften the severity.
There is a lot of red and black in the play, broadcasting alarm and trouble. The main heroine, a simple dishwasher, a girl with a wonderful name of a pear (emphasis on the last syllable), in a bright red dress. And the dress is, as if a huge pulsating heart, it beats in the wind, it hides under a black jacket, or a rich bedspread. And it is completely filled with all a rude fat vapor. Yes, and at the very beginning of the play, an amazing scene - a pear in his red catches a goose - a huge white sheet, and the dance of these two colors is like a symbol of hope and suffering, sets up on the desired way. Very cool, although I do not like this word, but here to the place, in this role Yulia Solomatina. She is a symbol of kindness, mercy and all the same happiness.
The first action, two-thirds of the whole performance, are saturated with events, dynamically, a lot of songs, humor (yes, no matter what, and humor is appropriate here!), And wonderful, bright scenes. I will note Konstantin Konstantinova, which plays several roles - and each - a small masterpiece! And the magnificent Olga Prokofiev, a real Georgian mother and mother-in-law. The perfect hit to the role.
After an intermission, the performance turns into a benefit of one actor, Igor Kostolovsky. His character is azdak, a village clerk, the will of Fate and Prokhineki's nature becomes the judge. I do not know how much this will answer is the director, but Azdak turned out to be a certain welfare favorite, cunning, sometimes fair, very self-free Barin. Although, how can Igor Matveyevich not be a universal favorite, I can't imagine, of course.
The performance is leading a narrator, Sergey Rubekov, a well-posed voice and a luxurious fur coat resembling Shalyapin. He sets the necessary tone to the whole narrative, appears suddenly, disappears to nowhere, but without a conductor wand skillfully and deftly controls all this "orchestra."
The final disappointed me somewhat. Wonderful boy: straw hair, a faint view, timid gait. Why did he invested the sword in his hands, and slipped for the "murder" of children's mannequins? And as sad, he stood when two women in red began to pull him in different directions, on the team of Azdak ... the chalk circle turned out to be very flat and not accentuated. However, it was the first show to the public.
Jazzed intonation of the performance, Georgian accent, red, interesting set design - the performance turned out to be bright and memorable. And well, that on stage, as in a fairy tale, good wins evil. Perhaps in life ...

Drums in the night, snot in April, Mayakovsky Theater in confusion

All you need to know about the feeling of taste of the creators of the performance: in one of the scenes Kostolovsky in the image of himself addresses the audience with the phrase "there is anyone who knows me? I do not see your hands the Grand Duke! ". I have an attack of coprollia every time the actor kiches applause; Spectators themselves can decide when need to clap, and when not. In principle, on this review, you can finish, but my mother gave birth to a grafoman for this.

It is just a poorly made performance in which everything is not allowed with everything. The genre is indicated as "Jazz Road Mugvi". Are you seriously? It sounds as ridiculous as the "multi-brand boutique".

The performance is pretending to be an epic theater of Breht, but the entire first act is a tearful melodrama, where Solomatina is not at all trying to remove himself from his heroine, but it is quite fit in it. And the second act is Stupitsky Balagan (and no cabaret) led by replaying Kostolovsky.

The scene is framed by lamps like a make-up mirror, but they do not enter into any interaction with minimalist design, which, on the one hand, is as conventionally and distinguished from the image of Georgia, and on the other, let's say, for some reason, it is definitely shown through cows set by immediately in four floors. The same with costumes - they are "realistic", they look like robes, then jeans come into business.

What is the ratio of the vicious sound of the saxophone to Georgia or to the sullen minimalism of the scenery? There are no complaints to music (as opposed to vocal, well, oh well), but it is perceived as a plug-in tooth.

The males became famous for both an excellent director of small shape, and the "chalk circle" is perceived as an attempt to pull himself into a large scene. Yes, so that immediately with music and the crowd, as in the Georgian wedding.

P.S. The spectrum sounds the phrase "Do not try to run like snot in April", from which you can make elegant euphemism. For example: Yuri Butusov put in the Vakhtangov theater play "snot in April".

How is our life unpredictable! On Saturday morning, our home began to repair. My day was painted by the clock. Cooking, cleaning, preparation for the arrival of the team of workers, again cleaning, watching a telecast. In short, I was going to spend a Saturday day in throwing between the kitchen and the repaired bathroom and has already prepared the respirator, and it turned out to be the smell of Kulis among the Beaumud and the elegant public)))
Thanks to Ketosha and God's Providence, I had luck to visit the theater premiere, who adore from youth.

Theater them Mayakovsky is just the constellation of eminent actors. Igor Kostoloshevsky, Evgenia Simonova, Anna Ardova - List can be dill and deli.
The play on the play of Bertold Brecht "Caucasian Chalk Circle" has already walked on the stage of this theater. Then Galina Anisimova was shone in roles in the role of pear. It took a lot of years and now the young and very talented director Nikita Kobelev returned this cult play of Brecht on the scene of the famous theater.
The plot is the parable of King Solomon. This is the eternal dispute of two mothers about who loves the child more. But how it all sounded on a new one!

Genre Road Mugi implies an endless road. Under the delicious musical accompaniment of the Quarter "Round Bend" on the Military Georgian Road there is a young pear (Julia Solomatina) and carries someone else's child. This baby "noble origin" was abandoned by his own mother - a widen executed governor (Daria Relawnova) and take care of him for him means to attack a lot of trouble. But the girl can not do differently.
On the way to brother in Mountains, there is a lot of obstacles and many different people. Someone helps her, someone is indifferent, and someone is configured hostile. But the pear can no longer abandon the little Mikhail. He became her son.
An amazing musical fabric, which is a snack, becomes an independent acting face of the play. Beautiful music accompanies all the action of the performance. Without it, it is impossible to imagine the story. At some stage, the musicians become acting persons and climb the scene.
The acting ensemble is so good that it is difficult to allocate someone alone. Of course, I waited for the appearance on the stage of Igor Kostolovsky as azdak. I knew that it would be an extravagant, but did not know that it would fight me so much! Amazing inner freedom of azdak, his irony and the ability to see people through the actors are so accurate that it remains only to guess how, well, how does it succeed? What Kostoloshvsky did - masterpiece!
Young actress Yulia Solomatina - an upward star of the theater. She loves her pear, believes, hopes, and, in the end, justice triumphs. A fragile, elegant girl of the rabble and gentle, but she so firmly defends their right to love for someone else's child, which becomes clear - do not bend a pear to anyone! And only love can win.
This is a wonderful, amazing, capacious performance. Music Paul Dessau is so decorating the story that it is impossible to present one without any other.

Directed by Nikita Kobelev Real talent. The return on the stage of the epic play of Bertold Brecht became a triumphal. Brilliant work of actors and director. Bravo! Bravo! Bravo!

Unusual combination of Bertold Brecht and Georgian action. The play was written in 1946 and initially all D.B. It takes an abstract city, but then the author made a "crank" to the winner of Georgian Stalin ... I liked the play as a whole, although it lasts more than three hours: the first act is almost two hours. The action swing gradually, the topic of refugees echoes today. Brecht expression organically lies at the Georgian crazy. And in the scene of the court of Kostoloshevsky and I want to slope together with the actors, weed alternately and is quite appropriate. Songs in the microphone are perceived as pure rap. But it is woven in the canvas of the narration worthy. Not far from us, the wife of the Kostoloshevsky Frenchwoman Consuelo was sitting in the director's bed, and the actor addressed her replicas directly to her. She booked a basket. In general, sparks flew from the scene. Recommended for viewing).

There are such performances that are not at all and not performances, but a completely real emotional residence of someone else's life, with a full turning off you from today's reality and full involvement in the events that occur not scene.
Takov Caucasian Chalk Circle on the stage Theater them. Mayakovsky (The premiere took place in April 2016).
The author of the play - Bertold Brecht - German playwright, Poet, Prose, theatrical figure, art theorist, founder of the theater "Berliner Ensemble"!
Piece "Caucasian Calling Circle" (Der Kaukasische Kreidekreis) was written in 1945! And in 1954, it was supplied by Berlin in the famous Dramatic Theater Berlin "Berliner Ensemble", then the music for the play wrote composer Paul Dessau, too, as you understand, German.
After the performance, when everything in you, all the experienced feelings are drowning like the Terek River, it is impossible to believe that Brecht is not Georgians that he has no Georgian roots that he has nothing to do with Georgia! In 1975, the Caucasian Call Circle was put by Robert Stura in the Tbilisi Theater. Shota Rustaveli, with Music Gia Kancheli, and became the brightest event of theatrical life. And this is understandable - an outstanding Georgian director, Georgian actors, Georgian composer. And Brecht - German! Then there is a conclusion alone - he is a genius, since only geniuses can be so deeply, powerfully, to reliably feel and describe such a distant culture from him.
Scene - Caucasus.
Time - "Feodal Georgia" (for reference: "Georgia was in the composition of the Russian Empire from 1801 to 1917. From 15 to 18 century, Georgia was fragmented and was located between Muslim Iran (Persia) and Turkey). But time in the performance as such is very conditional.
Caucasian Chalk Room- This is a circle, outlined by chalk on Earth, the inside of which two women join, who have to fight for the motherhood. This is a fictional symbol of the righteous court, it is unlikely that he existed in Georgia a similar method of justice. But yes it will be so - a chalk circle. Chalk. On the ground. Child. And two mothers.

The performance goes on ascending, from the note "to" to the note "SI". Slowly, in detail, the chronological chain of events is detailed.

Scene First: Note Baby
Scene The second: flight to the northern mountains
Third scene: in the northern mountains
Fourth scene: the story of the judge
Scene Fifth: Chalk Circle

The scenery in the performance is three-tier, and an action may occur at each level.

There is a lot of red in the play. Red dresses wear a dishwasher of a pear of Vakhnadze and Princess Natell Abashvili. Red color have scenery. Red symbolizes fire, and blood, and danger, he is disturbing and exciting.

A lot of music in the play. The performance is musical. Music, as you remember, wrote a German composer. But she ... Georgian. Such a passionate, bright, sonorous, such a feeling that the music in this performance has a separate role. In the orchestral pit there is an ensemble, whose musicians are dressed in round Svan felt hats. Saxophone, clarinet, trumpet, accordion, bass guitars, etc.

There are a lot of songs in the play - live vocals. Almost all heroes sing (on the microphone scene), and not only exchange remarks.

A lot of love in the play. We are always surprising a gentle flower, penetrating asphalt, in a striving for the light. So in the life of our most important, strong, unforgettable is love. And the maternal love is generally not a definition category. Does it be possible to describe it with words, measure something?

The role of the main heroine of the pear vakhnadze (peasant, dishwasher) performs Yulia Solomatina. This role is created for it. Or it can rather and so - she created a stunning image of a true mother. She kept, strayed, attracted attention to all the performance - and above all with an infinite sincere return, open sincerity. I would even notice that for the actress it could be dangerous for the actress. Because there is no face, there is no border between the stage way and the real person. On stage there is no actress Solomatina, there is a pear of Vakhnadze on stage (peasant, dishwasher). But for us the audience to be witnesses such a generous reincarnation - happiness.

Sometimes you think, so what she is for a person - barely walks, she is pursued, she trembles from the cold, she wants to eat, but she forgets about their own deprivations and first of all mining food for a child, and the mug of milk at the same time it costs half of its weekly earnings. In theory, the heroine under the blows of fate should cry, well, at least a little bit. How without tears, do it in its situation. But the pear of Vakhnadze is not only not crying, she still worms and sing! In this person, a small, fragile, the love of such power lives on the kind of defenseless, that it is possible to bask as in the sun.

Yes, throw this child - you will be killed now.
Yes, you throw this child - you sing myself.
Yes, you throw this child - do not attract a shame on your head, you're a washcloth, you will be blown up with stones.
Yes, you throw this child - he's someone else! Alien!
…
I bought a program in the intermission and did not have time to read the names of the actors. Therefore, when the village of the village of Azdak appeared on the scene, then at a special concentration of attention, by the critical hall, it was clear that the master played. Yes, it was Igor Kostolovsky! Old man azdak is a very difficult character. He is wise, too much, he lived a long life and looked a lot, but this man is far from holy, huughter before drinking, unclean on hand, heter. Therefore, it is unknown in which direction to blow the wind, which azdak judge will add a lot of weights.
Clear circle is his decision.
The chalk circle will determine the one that is a real true mother of little Michael.

Liked it Olga Prokofiev In the role of mother-in-law. I did not know her either, and also, without learning, I was impressed with the acting passion. In general, all acting works are beautiful. Not very convincing appeared only the drawing of the role of Darya Damanovova (Natella Abashidze), seemed too superficial, interfered with excessive gesture.

The performance finds such a response in the shower, covers such a wave of empathy, which, phenomenon in the cheeks in the final, the phenomenon is completely predictable.

Amazing, magnificent, full musicality performances. It goes for 3 hours 15 minutes with one intermission, while it is impossible to tear off. In the second act plays Kostolovsky. After graduation, the hall applauded standing. And long. Many jazz. I am delighted.
Nikita Kobelev - genius.

Amazing performance: It would seem a very simple plot, but as it is amazingly developed, as the director is put! Long, but for a minute is not a boring performance, with musical inserts, live orchestra, song rooms, with the words "from the author." I was not familiar with the play, and waiting for the development of the nuances of the play every minute. What is interesting is - the development of the plot as a whole guess is not difficult. But the actions of the heroes remain unpredictable at each individual moment. It would seem that the main character would seek, risen to the baby and will never quit it, but she suddenly throws him into a stranger house. Then it is also unexpected for himself in the play and for the viewer takes it back. That would seem to be a stranger mature woman, the mother herself, must take care of the baby, can't she quit him ... as she betrays him, frightened for the house ... There are many unexpected turns in the play, and it is wonderful. The life of the heroes is unpredictable and the fascinatingly interesting. I have not watched such whole, such beautiful, such professionally placed performances. The actors played wonderful! I especially want to highlight the executor of the main women's role to Yulia Solomatin. I really liked the storyselner Sergey Rubekov. Many thanks to the Mayakovsky Theater! I recommend to everyone.

Major stories that occurred on a small block of biblical Georgian land.
The girl from the servants is with an abandoned breast child of the princely kind.
His father was killed, the mother fled and as it was accepted in the Caucasus to cut the whole family, the son who could not walk should be responsible for the Father and, it would seem, the power will be clear on whose side.
But the maid can not throw a kulok with a baby and risking every second life saves a boy from an inevitable death, brings up, although Srelit is looking at her because she has a child without her husband.
After all, the woman is a sin vessel, and what about her hearts, so who can describe it?
When the war is over and the boy's biological mother will return, then she will want to return it to engage in possession of the left inheritance, but the wise bribener-judge measures the power of maternal feelings to the old way - let the mother pull the boy each.
That that will not be able to hurt the child and there is a mother.
In the formulation of the whole book of life and endless feat.
After all, God is love?

Three hours spent in the theater fly in one breath.
The story that could shake the world if it were not daily.
Bravo actors and everyone involved in this formulation.

Theater IMA Makovsky put the Caucasian Call Circle. Summary jazz road Movie.As alive jazz band by the way. With Georgian motifs and handles, sometimes the sentence.
This is a story, familiar to us from biblical times, about the dispute of two mothers, who allowed King Solomon.
Only here there is a dishwasher of Gears, which goes through the winds, cold, saving an abandoned baby. Only here is the wedding turning into the funeral under the laugh of the audience. And then the gorgeous resurrection of the surfactant spouse and its ablution.
And there is a court. Only not Solomon him rules, and Pianchuga and Prokhinte Azdak. And if truly, then the magnificent Igor Kostoloshevsky. Here is his triumph as an actor (and as a hero-writer). His phrase and gesture "And I take it!" This is something!. To be honest, my children's love in the Decembrist Anenenkova took a long time ago, and I did not particularly follow the roles of Igor Matveyevich. But mature Kostolovsky is something! Valya, wise ... I am impressed.
Very Mila Yulia Solomatina in the role of Grushe. I really liked how she sings, a beautiful voice.
And Soldier Simon Khahava performed by Pavel Parhomenko in Georgian temperakenen, hot, but restrained as a true soldier. A great role.
Sergey Rubekov is beautiful as a narrator, straight is unreasonable.
Daria Relatorova In the role of the wife of Prince (and Mother of the Baby) Manerne, as must be a disabled princess. (By the way, I met her the next day on a currant party, came across and greeted, thanked for the performance))
I really liked Alexey Fursenko as a dying husband. Pretty anecdotal role.

The play is wise, sad and cheerful at the same time as all the plays of Bertold Brecht. Be sure to go, you will not regret!

Performance on the play Bertold Brecht. This work I did not know and wanted to see at least from a familiarization point of view. In addition, Brecht and the Caucasus are not the most obvious combination, while I love the Caucasus! But still the Caucasus is more likely exotic scenery and a local flavor, which actors are glad to play. The story itself in general could have happened anywhere. The power, the old rules kill, come new. But life goes on. And how in this skeyatice to grow a little man thrown by a native mother? And in the top of all Solomonov, the court. But the performance is still about love, in it salvation, it is eternal.

The performance is easy to call difficult. Many events and events are not easy. Funny moments are replaced by tragic. Whether the parable, whether Road Store.
How not to remember the ancient Japanese "curse" - so that you live in the era of change. It is during the time of the Troubles that it is difficult to maintain a human face, and sympathy and kindness can get sideways. "My hut with the edge" and in general, it is difficult to categorically condemn so incoming ..

But a lot of the same music. How in the Caucasus, yes without music? !!
In the performance, the whole orchestra is involved - "Round Bend". I love it very much! And here is always a holiday and grief go around. Even the music is the brix funeral march, then the muffled incendiary wedding dance. Well, if the situation does not know.
So the characters also sing! Most of all remembered the voice of the pear - very penetrated. But the music made his way even in unexpected places. For example, who would have thought that even a cry should be strengthened in the traditional polyphony :-)))))
Interesting scenography multi-level. And high scenery - something to know in the palace over the plebies shows the height of the mountainous area.

A completely remarkable artist leader Julia Solomatina. Such a trembling, experienced, real, but also with the character! What hair! And what voice - sings very heartfelt!
I really liked Solomon's judge Azdakov Igor Kostoloshevsky. He is just right Solomon from Proverbs. Sage from oriental fairy tales. And how fastest the Bark Representativeness of the Kostarevsky himself is suitable. That's even removing smelly shoes, he does not lose self-confidence. And not frantic self-confidence, but quite aware of the knowledge of the world. At some moments, at all went to some judovsky moments. But who here is the wise and fair one is still obvious. And the burden of responsibility is, because he understands it, this responsibility. Bright and cool! The second action in the general Izdak benefit.
It turns out that day was the debut of Yevgeny Matveyev as Simon Hahava. I can not say that the role is big. But important. And for this short term it was necessary to show that he is worthy of love of such a wonderful girl like a pear. And he coped with this role! I even regret that it was so little.
It was beautiful in the small, but bright role of the mother-in-law Olga Prokofiev. Such a wonderful mother-mistress!
I remember and "presenter", sorry "the author of the author" Arkady Cheidze - Sergey Rubekov. And how cool he "voiced" all sorts of moment!
Classic T-Efreitor Vyacheslav Kovalev. Nasty to the impossibility! And this is a compliment, if that!
Dying husband - Alexey Fursenko. Scene in the bathroom, of course, enchanting and hooligan on Ggani Fola!
I liked Roman Fomin and a ladder soldier, and a self-confident contender for the role of the judge.

Notes of amateur.

№ 23. Theater them. Vl. Mayakovsky. Caucasian Cretaceous Circle (B. Brecht). Dir. N. Kobelev.

"Everything in the world should belong to those who are more susceptible,
And it means, children - the maternal heart, so that they grow and men
Walking - a good one, so that quickly rolled.
And the valley of the one who is irrigated, so that the fruits brought down. "

Brehtovskoe "Being the Stroke of the Scene" directed by Nikita Kobelev took close to heart: At the very beginning, instead of decorations on the arierhzent, giant stepped cubes are visible, appealing from under the Red Wall, flowing down on them. The action takes place in Easter Sunday and the red color is symbolic for this day. Dresses have both main characters - pear and natells are also red. Through the slots of the fabric, the actors fall on a narrow strip of advantage. But later, after the execution of the governor, the burgundy fabric falls and the eye will have a gloomy multi-tiered design from the hostes, for which the heroes will "travel". The action occurs simultaneously on four levels: scene, podium, second tier, mezzanine. Thus, multiplicity is added, a certain polyphony. Appears volume, perspective, depth. The director thoroughly builds scenography, the composition often resembles a beautiful and spectacular picture.

Brecht begins literally from the first seconds of the performance: the actor from the scene referring to the audience asks to turn off the phones, comments on the performance and enters into a short dialogue with technical workers, asking: "Can a performance be shorter"? This is a reminiscence, beating the original text. There are other indispensable attributes of the "Epic Theater": the actors fall on the scene through the auditorium, there is a lot of conventions - from the "goose" by the wings depicted by the sheet, before moving along the bridge through the abyss, recreated using the usual board, but the actress played Nevertheless, reliably. Conditionally shown and place of action. About the fact that this Georgia can only be guessing in the costumes and names of the characters. The story of the story is universal and could have happened anywhere and ever.

The figure of a narrator was introduced, dismissed observing what is happening on the stage, if necessary, helping the actors, depicting the shouts of a goose or crying baby, or removing the theater props directly from under their feet. The narrator periodically throws short replicas in the hall with explanations, referring directly to the audience. And, of course, in the play a lot of music and zones. The four musician-multi-instruments of the group "Round BDD takes the most direct participation in what is happening, up to the scene with the songs in the Episode of the Rustic Wedding. This adds realism, noise of life. Brecht's music is a continuous and full participant in the play, one of the pillars supporting the entire creative design. In places ironic, in some places, piercing music from Paul Dessau, creating a branded "epic" atmosphere and the zooms are markedly, but somewhat rude, despite the help of four back-vocalist. Yuri Butusov has emotional testing of zones, each of which can be viewed as an independent number, literally "pierces to the liver." But here the effect has a smaller force.

The playful of justice tells about the injustice of that world that people arranged for themselves. The world, where they rule are not worthy, and the most cunning and cruel, where moral actions come into contradiction with the laws and they have to pay hard to pay, where the best people suffer more than others. And these best persist precisely among the people who are kinder, sacrificent and human elite, which is in power. Whether the power spoils people, whether the worst is striving for her - this is another question. Pear, a simple dishwasher puts out fatal risk saves a child abandoned with the shoot of the governor, sacrificing his own personal life and its future. But everything ends relatively well, she managed to get out the winner of all the tests. Justice, whose symbol is the test of the chalome circle, in the final is still triumphant. True finds himself beyond the poor.

It is characteristic that the key decision on who to be the mother of the boy turns out to be wise and fair, but it is taken by taking bribes, but a very controversial character Azdakom: "I take" - he reports four times with incomprehensible seekers. Brecht included in the game a lot of polarities opposing each other semantic pairs, which electrify what is happening: poor-rich, they are the people-power, good-evil, head-subordinate, greedlessness, truth, etc., etc.

The director had a story about the heavy misadventures of a woman who decided to merciful act in our difficult world. On how much it is necessary to overcome the person to remain ourselves and for justice to enthusiasm. The fact that for good purpose will have to lie, and suffer and even beat other people. Noticeably the desire to surprise the viewer, remember, laugh (especially the scene of swimming a recent "dying" in the bathroom). Cobelian characters are as if on the shop window, they are underlined convex, comical, everything is very clear, ringing. Each protagonist is embodied in nature. Their intentions and motifs are transparent. Their actions are straightforward and unequivocal. They say what they think.

With the central and difficult role, a young actress Yulia Solomatina coped with a pear quite confidently. Her heroine is impulsive, simple and humane: "You are good, but you can't call smart." Another charismatic and loud character - Azdak, Boyko played by Igor Kostoloshevsky. It is ambiguous, but in the depths of the soul, this person is decent and remains honest with himself: "I do not have a good heart at all. How many times do you say that I am a mental person? ". The sample of decency is the groom peer, Simon soldier. The faithful sense of duty of the soldier he is ready to guard the governor's wife, despite the deadly danger.

All characters are not from the people - negative: shaking in front of the execution of the governor, a cynical bold prince in a grotesque cap, the evil, ungrateful wife of the governor who threw the child, but not forgotten to capture countlessly dresses, for which his native child is only a way to get the inheritance. The company is made up of other scoundrels and a mushroom: Judge, Patriarch, Police Head. Brecht is mercilened to the "elite": "Do not Chaquii, as if you are a great prince or a pig." In society, the top of the bottom was stirred: bright people live at the very bottom, and in power one rot and sucks. Make a truly good deed - to make a feat in our confusing world, and justice needs to be defeated by fists and blood.

The chalk circle has become such a temptation. It can not be called simple, light or heavy, but how breathing after it. And at the same time I want to dive back into this fantastic whirlpool of living votes and music, those that are delayed, hypnotize. Tkut an ancient canvas, binding of fate, soul and arranging everything in its place, sometimes illogical, but it is in its madness absolutely correct.

It is pointless to retell the plot, because Brecht does not tolerate the "brief content of the previous series." How to retell a parable, I have no talent of Sergey Rubenko, that whose voice created the fantastic world of Georgia, it seemed that you were there, on a military road, in the northern mountains, the wind scratches the skin and do not know who a friend you are, and who is the enemy.

Poor pear, like your soul hurts, the image created by Julia Solomatina does not just break the heart, are you mad, whether to save it from yourself, or from people, or just rush and go there, at least a little easier to relieve her It is a ball around the baby, so that at least somehow hide from the cold water, because even the sky cries looking at her heroine. After all, how many madness and love need to be in a cycle of war, throw everything and save the child, absolutely someone else, turn the whole world, all their hopes, just to warm it up and feed it. And immediately, in a moment you will laugh, like in life, from love to the union, from grief to joy one step

I struck Kostoloshevsky, so funny sounds, because initially you perceive it as an actor of a talented and recognized, but struck. For me, he was always, with a certain noble handsome blue blood, ballet and bonvivan, and then came out on the stage ... Bum. Well, not a homeless homeless, and rural such an alcoholic, a rogue and passage. The first moments were simply incredible, the brain understands that this is Kostolovsky, and inside everything is dumbfounded, the eyes clap and sounds "here is this tramp? Can not be ... well, can't". His azdak fascinated me, here Murlo, undergoing, who was a happy occasion, as a result of a raw place, starting with a bribe, an official person in his face, but it is impossible to condemn the corruption in his face, you can only admire.

You can still praise for a long time, that's all you have to eat in this performance for happiness, you can talk about excellent director, laconic, but from this even more bright objectography. Probably the most honest will be so ... I was lucky with the place, and it was still modestly said, but the actors had a not an illusory chance to beat back from the crazy, who was ready to rush on the stage and fall to her feet :) I myself do not know how keen . So the second time I will definitely pull someone with me, so that I was kept behind the cork.

Brehta can be respected and love only for the "three-year-free novel" - it's a real game of the mind of Geniya, but his plays, be it, going to the theater on the Taganka "Good Man from Selyan" or "Caucasian Cretor Circle" in the Mayakovsky Theater, I do not like. The plots for these plays at Brecht are very (too) allegorical and grotesque, and except for the name, the names of the actors, actually have no real connection with the countries described, whether China or Georgia.
In the history of the creation of the play, they write that Brecht chose the place of action of Georgia, as a sign of respect for the "Father of Peoples", in 1945 (the time spent speaking) - the fascism's advantage: the decision is certainly very far-fetched. Hence the absence of any national flavor, concrete details, in the story told in the play, everything is very conditional.
They write that the production of this play in Georgia in 1975 with the addition of national flavor, national types and temperament. There was a great success. - It is possible to make sure that such an assessment is valid. But after watching this performance at the Mayakovsky Theater in the formulation of the young director Nikita Kobelev, the question is suggested: is the director for such independent work too? Moreover, there are no complaints about the acting: the composition is very strong. It did not leave the feeling that the cast is much stronger, above these too, grotesque plays with foolish characters and its incarnation by a young director.

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At the heart of Bertolt Brecht, the parable of the king Solomon, telling about the dispute between the two mothers. When the world turns into war and everyone is looking for only his truth, the life of someone else's child saves a pear and travels to him in a long way, contrary to the laws of common sense, inheritance of the danger and the opinions of others. The performance of Nikita Kobelev about the value of a disinterested act and at the same time about how much the price has to pay for it.

Jazz Road Mugi according to the expanses of Georgia, created under the laws of the epic theater of Breht, full of excitement and music of Paul Dessau in the lively fulfillment of the Quartet "Round Bend" ends in court. The dispute between the two mothers will be able to resolve the ripper, the crooking painter Azdaku, at the same time giving his answer to the question of what is true justice.

One of the most religious plays of Bertolt Brecht, the Caucasian Circle Circle, was already in the repertoire of the Mayakovsky Theater. In 1964, Galina Anisimova was blistering in the role of Pear Vladimir Dudina, and in the role of Azdaka - Lion Sverdlin. Now Nikita Kobelev gave the main roles of the young actress of the Theater of Yulia Solomatina and the People's Artist of Russia Igor Kostoloshevsky.

Kobelev builds a great form on a complex, burdened material of the masterwork and so fascinating - that is ridiculous, then touching, - that it is not to tear off all 3 hours and 15 minutes.
Elena Levinskaya, "Theatrical Poster"

With all the severity of the topic and melodramaticity of the plot in Nikita Kobelev, the performance turned out very bright, volumetric, filled with live music and drive.
Irina Udyanskaya, Portal "Watch Russia"

Twenty-two actors of several generations of beacons exist in the performance on equal terms, regardless of the size of the role, most of the hobby and drive perform several characters, creating an accurate and sensitive ensemble.
Svetlana Berdichevskaya, "Screen and Scene"

Young actress Yulia Solomatina in a difficult role of a pear manages to be reliable every minute, and playing Judge Azdaka Igor Kostolovsky, on the contrary, uses all his comedy arsenal, creating an almost carnival mask of a village cunning, who manages to turn the inhuman law in favor of ordinary people.
Marina Shimadina, "Theater"

The director chose not theatrical, and the cinematic genre - Road Mugi. Almost all artists sing the zon. Especially they succeed in Yulia Solomatina, the role of the role of a pear, and Igor Kostolovsky, shining as azdak's deboshira.

Natalia Vistitskaya "Your Leisure"

Nikita Kobelev, director: "As Brecht wrote:" There are no bad times with a dangerous man. " For me, one of the main issues today: why should the good act be sure to turn into suffering? How to survive in the era of change? In difficult times, neither the law nor the familiar justice is saved, only such a human manifestation as a bit of pear, only internal freedom can save. Azdak - the embodiment of this inner freedom, it is an absolutely carnival character. Come up with life, come up with a role - the only opportunity to survive in this chaos and help survive someone else. "

Birograph Brecht Ernst Schumacher connected with the desire of the author to give a tribute to the dedication of the Soviet Union in this war. At the same time, Brecht, as Schumacher believed, quite gave himself a report in the fact that the Progian Prologue of the Plays excluded the possibility of producing it on Broadway. For the first time, the Caucasian Chalk Circle was set in 1947 - on the stage "Nursy Little Theater" (English. Nourse Little Theater.) Carlton College In Northfields (Minnesota), director H. Gudmen.

The initial version of the play was published in 1948 in the Sinn Und Form magazine. Preparing for the production of the "Caucasian Cretaceous Circle" in the "Berliner Ensemble" theater, Brecht in 1953-1954 significantly processed the play, - in the final editorial office, it entered the collection "Experiments" ( Versuche.), published in 1954 in Berlin.

Characters

• Arkady Chkheidze - Singer
• Georgy Abashvili - Governor
• Natella is his wife
• Mikhail - their son
• Gogi - Adjutant
• Arsen Kazbeki - Bold Prince
• Equestrian
• Hiko Mikaze and Miha Loladze - Doctors
• Simon Hahava - Soldier
• Pear Vakhnadze - Dog
• Lavrenty Vakhnadze - Brother Pear
• Aniko - his wife
• Peasant woman - Temporary mother-in-law pear
• David - her son, husband pear
• Azdak - Rustic Chericar
• Shalva is a policeman.
• Old man fugitive - Grand Duke
• Farmers and collective farmers, servants in the governor's palace and other second-time characters

Plot

Stage destiny

In 1957, the Caucasian Chalk Circle was shown in Moscow and Leningrad during the tour of the theater. "The tradition, which has come down from ancient times, wrote critic E. Lutskaya, - generated by the whole being of the People's Theater - from the carnival processions to the square mysteries, - came to life and appeared quite young in this performance, where wisdom borders with naivety, conditional grotesque gets around with sophisticated psychologist, and the comedy began peacefully adjacent to tragic. " In this performance, negative characters, in contrast to positive, act as dolls or as a mask, that some critics, in particular S. Mokulsky and B. Rostotsky, seemed unjustified: the image of living images, in their opinion, is meaningful. Yu. Yuzovsky agreed with this: "The actor representing a doll, gesture, a rhythm, the turns of the figure draws a drawing of the image, which is the viability of what he expresses may argue with a living way ... and in fact, what a variety of kill Unexpected Characteristics - All these Lekari, Surrive, Lawyers, Warves and Ladies! These ladies with their dead shimmering eyes, the personification of the unfastened soldiers. Or the "Grand Duke" (Artist Ernst Otto Furmann), long, like a worm, all elongated to his earliest mouth, is the mouth of this purpose, yet other means in it. "

By the number of productions outside of Germany, the Caucasian Chalk Circle has become one of the most popular Pieces B. Brecht. Staging the play in the Royal Shakespeare Theater in March 1962 not only English, but also the German press recognized the "best London Breht."

The outstanding event of theatrical life was the formulation of the Caucasian Cretaceous Circle, carried out in 1975 by Robert Stura in the Tbilisi Theater. Shota Rustaveli, with Music Gia Kancheli, - The performance brought directly international fame. According to Georgy Tovstonogov, the success of the performance was due not least to the fact that the director "with trust reacted to the author's definition of the point." In the play of Breht, the Caucasus is the same abstraction as China in the "good man from Sichuani"; The country, wrote Tovstonogov, is named in the play of Georgia "only in order to show that this is far from Germany, which the author first thought about"; But the Georgian director immersed it into the national flavor, the abstract images found flesh and blood: "There was no Georgia" in general, "not a fabulous country, but a specific environment, an atmosphere, atmosphere, and most importantly - specific people. It put the play an additional meaning, and the national temperament of actors charged it with emotionality. The connection of the principles of the Brehtov theater with the traditions of Georgian folk art gave the result of such an impressive force that a beautiful performance was recognized in the whole world and opened a new one, today's way to Brecht. "

Famous settings

• - Berliner Ensemble. Staging B. Brecht, director M. Vivers; Artist Karl von Apane; Composer Paul Dessau. Roles performed: Azdak and Cheyidze - Ernst Bush, Pear - Angelik Hurwitz, wife governor - Elena Vaigel, prince Kazbeks - Wolf Kaiser, grand Duke - Ernst Otto Furmann. The premiere took place on June 15
• - Theater Frankfurt am Main. Harry lettering, artist Teo Otto. Roles performed: Pear - Ket Rayhel (actress Theater "Berliner Ensemble"), Azdak - Hans Ernst Eger, prince - Ernamalter Mitulsky, Singer - Otto Rovel. The premiere took place on April 28
• - Royal Shakespeare Theater. Statement of William Gaskilla; The role of the pear was performed by Patsy Byrne.

IN USSR

• - Moscow Theater. N. V. Gogol. Statement A. Dunaev, artist M. Warpekh. Roles performed: Pear - L. Gavrilova, Azdak - A. Krasnopolsky
• - Moscow Theater. Vl. Mayakovsky. Holding V. Dudina, artists V. Krivoshein and E. Kovalenko. Roles performed: Pear - Anisimova, Azdak - L. Sverdlin, Simon - I. Okhlupin, svetrov - N. Ter-Osipyan
• - Tbilisi Theater. Shota Rustaveli. Robert Sturua, Composer Gia Kancheli. Roles performed: Cheyidze - Genrey Lolashvili, Pear - Iza Gigoshvili, Azdak - Ramaz Chchekadze, Simon - Kakha Kavsadze, Natela Abashvili - Marine Tbileli, Lavrenty Vakhnadze - Jemal Gaganidze

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Notes

1. Schumacher E. Brecht's life \u003d Leben Brechts. - M .: Raduga, 1988. - P. 171. - ISBN 5-05-002298-3.
2. Etkind E. G. // Bertolt Brecht. Theatre. Pieces. Articles. Statements. In five volumes .. - m.: Art, 1964. - T. 4.
3. . Apocrypha, Okolokhristician texts. Checked on December 13, 2012.
4. Schumacher E. Brecht's life \u003d Leben Brechts. - M.: Raduga, 1988. - P. 172-173. - ISBN 5-05-002298-3.
5. Brecht B. Pieces. - M.: Art, 1956.
6. Coralov M.M. // History of foreign literature of the twentieth century: 1917-1945. - M .: Enlightenment, 1984. - P. 122.
7. Schumacher E. Brecht's life \u003d Leben Brechts. - M.: Raduga, 1988. - P. 270. - ISBN 5-05-002298-3.
8. Lutskaya E. On the performances of the "Berlin ensemble" // "Theater": magazine. - m., 1957. - № 8. - P. 178.
9. Yuzovsky Yu. . - p. 277.
10. Yuzovsky Yu. Bertolt Brecht and his art // About the theater and drama: in 2 tons / comp.: B. M. Poyurovsky .. - m.: Art, 1982. - T. 1. Articles. Essays. Fakelites.. - p. 277.
11. . Theater "Et Cetera" (official website). Checked on December 13, 2012.
12. Tovstonogov G. A. Scene mirror: 2 kN. / Sost Yu. S. Rybakov. 2nd ed. extra. And Xire .. - m.: Art, 1984. - T. 2. Articles, records of rehearsals. - P. 74. - 367 p.
13. Rudnitsky K. L. Theater plots. - m.: Art, 1990. - P. 317-334. - 464 p.
14. . Old Radio (1976). Checked on December 14, 2012.

Links

Basic Pieces Stories and Novella

An excerpt characterizing Caucasian chalk

What was the basis of the fear of the crust crust about people's peace in Moscow in 1812? What is the reason to assume a tendency to indignation in the city? Residents left, troops, retreating, filled Moscow. Why should the people rebel due to this?
Not only in Moscow, but in the whole of Russia, at the entry of the enemy, nothing like the indignation occurred. On September 1, on September 2, more than ten thousand people remained in Moscow, and, in addition to the crowd, gathered at the courtyard of the commander-in-chief and attracted by him himself - nothing. Obviously, it was even less necessary to expect unrest in the people, if after the Borodino battle, when the remaining of Moscow became obvious, or at least probably - if, then, instead of exciting the people of distribution of weapons and posses, crushing took measures To the removal of the whole shrine, gunpowder, charges and money and directly will declare the people that the city is left.
Mensor, ardent, Sanguine man, always rotating in the highest circles of the administration, although in with a patriotic feeling, did not have the slightest concept about the people he thought to manage. From the very beginning of the entry of the enemy in Smolensk, Mensmen in imagination amounted to the role of the head of a folk feeling - the heart of Russia. He did not only seemed to him (as he seems to be every administrator) that he managed by the external actions of Moscow residents, but it seemed to him that he led them to the mood through his appeals and posters, written by the territory, which in his environment the people whose and whom he did not Understands when hears it from above. I liked the beautiful role of the head of a folk feeling so much, he was so burned with her that the need to get out of this role, the need to leave Moscow without any heroic effect found him by surprise, and he suddenly lost the ground from under his feet, which stood, did not know What to do. He although he knew, but did not believe everything in the last minute to leaving Moscow and did not do anything for this purpose. Residents leveled against his desire. If the pretrial places were taken out, then only at the request of officials, with which the graph reluctantly agreed. He himself was busy only by the role that he did for himself. As it often happens with people gifted to the ardent imagination, he already knew for a long time that Moscow would leave, but he knew only on reasoning, but he did not believe in this soul, not transferred to the imagination into this new position.
All his activities, diligent and energetic (as far as it was useful and reflected on the people is another question), all his activities were sent only to excite the feeling that he himself was experiencing, - patriotic hatred for French and confidence in itself.
But when the event took its real, historical sizes, when it turned out to be insufficient only with the words to express his hatred for the French, when it was impossible to express this hatred even by the battle, when the confidence in himself was useless in relation to one issue of Moscow, when the entire population as one person , throwing his property, flowed out of Moscow, showing this negative effect the full force of his folk feeling, then the role chosen by messenger was suddenly meaningless. He felt suddenly lonely, weak and funny, without soil under his feet.
Having received, awakened from sleep, a cold and aggressive note from Kutuzov, Meschatchin felt all the more irritated, the more he felt guilty. In Moscow, everything remained what was entrusted to him, all that was stateless that he should take out. It was not possible to take out.
"Who is to blame for this who allowed it before? - he thought. - Of course, not me. I was all ready, I kept Moscow like! And that's what they brought the case! Fools, traitors! " - He thought, not determining the good one who had these bastards and traitors, but feeling the need to hate these some of the traitors who were to blame for a false and funny position in which he was.
All this night, the Count of Massanchin gave orders, followed by from all sides of Moscow to him. The approximate never seen the graph so gloomy and irritated.
"Your creation, from the progress department came, from the director for orders ... from the consistory, from the Senate, from the university, from the educational house, the vicarial sent ... asks ... About the fire team how to order? From the Ostrog, the caretaker ... From the Yellow House, the caretaker ... "- all night, without ceasing, reported the column.
The Count of all these questions gave short and angry answers, showing that his orders now do not need that everything diligently prepared by him is now spoiled by someone and that this someone will bear all responsibility for everything that will happen now.
"Well, tell me to this nerd," he answered the inquiry from the popular department, "so that he remained a box of his papers." Well, you ask nonsense about the fire team? There are horses - let go to Vladimir. Not the French leave.
- Your shyness, came the warden from the crazy house, how do you order?
- How do I order? Let everyone go, that's all ... and crazy to release in the city. When we have crazy armies command, so God ordered.
To the question about the wells that were sitting in the pit, the count of angrily shouted on a caretaker:
- Well, you give two convoy battalion, which is not not? To put them, and that's it!
- Your creation, there are political: bags, Vereshchagin.
- Vereshchagin! He is not hanged yet? - shouted crushing. - bring it to me.

To nine o'clock in the morning, when the troops have already moved through Moscow, no one else came to ask orders of the graph. Everyone who could go drove by themselves; Those who remained, solved with themselves that they had to do.
The count ordered to serve horses to go to Sokolniki, and, frowning, yellow and silent, folding his hands, sat in her office.
Every administrator in a calm, not a rapid time seems to be that only its efforts the subordinate population moves to him, and in this consciousness of its need, each administrator feels the main reward for their works and efforts. It is clear that until the historic Sea is calm, the ruler to the administrator, with his dwon boat resting the sixth to the ship of the people and the most moving, should seem to seem that his efforts the ship in which he rests. But it is worth climbing a bora, to worry the sea and move the ship itself, and then there is no misleading. The ship is going on his huge, independent move, the pole does not reach the driving ship, and the ruler suddenly from the rule of the ruler, the source of force, goes into an insignificant, useless and weak person.
Mensor felt it, and this was annoying him. Policheister who stopped the crowd, together with the adjutant, who came to report that horses were ready, entered the count. Both were pale, and a police officer, having passed on the execution of their assignment, said that there was a huge crowd of the people in the courtyard, who wanted to see him.
Mensor, not answering a word, got up and quick steps went to his luxurious bright living room, went to the door of the balcony, took the handle, left it and moved to the window, from which the whole crowd was visible. The high small stood in the front rows and with a strict face, waving his hand, said something. The crystal blacksmith with a gloomy look stood beside him. Through the closed windows heard was a buzz of votes.
- Ready crew? - said Mozchatchin, leaving the window.
"Ready, your cereal," said Adjutant.
Mensor again approached the balcony door.
- What do they want? He asked the police officer.
"Your creation, they say that they gathered to go to the French at your ordinary, something shouting about treason. But a lush crowd, your shiny. I went to Nasil. Your creation, dare to offer ...
"Excuse me to go, I know without you what to do," the crusher shouted angrily. He stood at the balcony door, looking at the crowd. "That's what they did with Russia! That's what they did to me! " - thought Mozchatchin, feeling in his soul the irrepressible anger against someone who could be attributed to the cause of everything that happened. As it often happens with hot people, anger has already owned them, but he was looking for an item for him. "La Voila La Populace, La Lie Du Peuple," he thought, looking at the crowd, - La Plebe Qu "Ils Ontr Soulevee Par Leur Sottise. Il Leur Faut Une Victime, [" Here he is, Population, Pubbley, Which they raised their own stupidity! They need a sacrifice. "] - He came to his head, looking at the high small hand waving his hand. And according to the one, it he himself came to his mind that he himself needed this sacrifice, this subject for his wrath.
- Ready crew? - In another time he asked.
- Ready, your fortification. What do you need about Vereshchagin? He is waiting at the porch, "the adjutant answered.
- BUT! - cried out the moisture, as an unexpected memory struck by some kind of unexpected memory.
And, quickly calling the door, he came out decisive steps to the balcony. Suddenly, sternly, the caps and the cards were starred, and all their eyes climbed to the publisher.
- Hello guys! - said Count quickly and loudly. - Thank you for coming. Now I will go to you, but above all we need to manage the villain. We need to punish the villain, from which Moscow died. Wait for me! - And the graph also quickly returned to the chambers, having hardly slamming the door.
The crowd joined the approving ropes of pleasure. "He, it means, the villains will help you shop! And you say French ... He will unleash all the distance! " - People said, as if reproaching each other in their Malimia.
A few minutes later, an officer hurried from the front door, ordered something, and the draguns were stretched out. The crowd from the balcony greedily moved to the porch. Coming out angry with rapid steps on the porch, the crushes hurriedly looked around himself, as if looking for someone.
- Where is he? - said the count, and at the same moment, as he said it, he saw out of the corner of the house who left between, two dragoons of a young man with a long thin neck, from to half a shaved and overgrown head. This young man was dressed in sometime Shchegolskaya, indoor blue cloth, shabby fox tuluochik and in dirty prerequisites of the artanta sharovar, covered in unclean, stopped thin boots. On thin, weak legs were hardly hung with shackles, which made it difficult to have an indecisive gait of a young man.
- BUT! - said Mozchatchin, hastily turning his eyes from a young man in fi and pointing to the lower step of the porch. - Put it here! - The young man, Bryancha shafts, heavily crossed on the stressed step, holding his finger pressing the Tuluptor's collar, turned twice the long neck and, having sighing, the subtle gesture folded thin, non-working hands.
For a few seconds, while the young man was installed on the step, silence continued. Only in the rear rows of people squeezing to one place were heard grocery, moans, shocks and the tramp of rearranged legs.
Mensor, waiting for him to stop at the specified place, frowning his face rubbed his hand.
- Guys! - said Metskchin with a metallic voice voice, - this man, Vereshchagin - the very beacon, from whom Moscow died.
A young man in fox stood in the submissive pose, folding his hands together in front of the belly and bent a little. Eashadowed, with a hopeless expression, an erased british head, a young face was lowered down. At the first words of the count, he slowly raised his head and looked at the bottom on the count, as if wishing something to tell him or at least to meet his eyes. But Mensor did not look at him. On a long thin neck of a young man, like a rope, Furnished and cried overlooking the ear, and suddenly a face flushed.
All eyes were directed at him. He looked at the crowd, and, as if encouraged by the expression, which he read on the faces of people, he sadly and timidly smiled and, again, lowered his head, recovered with his legs on the step.
- He changed his king and the Fatherland, he handed out Bonaparte, he was one of all Russians of the name of Russian, and Moscow dies from him, "said Muskolchin smooth, harsh voice; But suddenly quickly looked down to Vereshchagin, who continued to stand in the same submissive pose. As if the look, this blew him, he, holding up his hand, shouted almost, turning to the people: - Arriving with him with his court! Give it to you!
The people were silent and only cluster and closer and closer on each other. To keep each other, breathe in this infected stupid, not have the strength to move and wait for something unknown, incomprehensible and terrible becoming unbearable. People standing in the front rows, who saw and heard all that happened in front of them, all with frightenedly opened eyes and crushed mouths, straining all their strength, held their backs on their backs.
- Bay him! .. Let the traitor dies and will not convince the name of the Russian! - shouted crushing. - Ruby! I order! "Hearing is not a word, but the angry sounds of the voices of Merges, the crowd groaned and swept away, but again stopped.
- Count! .. - Speak among again the coming minute silence timid and together theatrical voice of Vereshchagin. "Count, one God over us ..." said Vereshchagin, raising his head, and again flooded with blood thick lived on his fine neck, and the paint quickly performed and escaped from his face. He did not negotiate what he wanted to say.
- Ruby him! I order! .. - shouted mushrooms, suddenly pale just like Vereshchagin.
- Sabl Won! - shouted the officer to the dragoons, removing the saber himself.
Another still the strongest wave was filing according to the people, and, devasting to the front rows, this wave shifted the front, Shata, brought to the steps of the porch. High small, with a petrified facial expression and with his hand-raised hand, stood next to the Vereshchagin.
- Ruby! - whispered almost an officer of the dragoons, and one of the soldiers suddenly, with a distorted malice, hit Vereshchagin with a stupid Palash on his head.
"BUT!" - Briefly and clouded Vereshchagin, frightened with looking around and as if not understanding why it was done with him. The same moan of surprise and horror ran through the crowd.
"Oh my God!" - Skin's sad exclamation was heard.
But after the exclamation of surprise, broken away from Vereshchagin, he cried out complaints about pain, and this cry destroyed him. That stretched to the highest degree of the obstacle of the human feeling, which held another crowd, broke the instantaneous. The crime was started, it was necessary to trust him. The plaintive moan of reproach was muffled by the Terrible and angry roar of the crowd. As the last seventh shaft, breaking the ships, soared from the rear rows. This last uncrowning wave came to the front, knocked them down and absorbed everything. The dyed dragoon wanted to repeat his blow. Vereshchagin with a scream of horror, shielding his hands, rushed to the people. The high small on whom he came across, clutched his hands into a thin neck of Vereshchagin and with a wild cry, with him together, fell under the legs of the chopped register people.
Some beat the Vereshchagin, other high small. And the screams of crushed people and those who tried to save the high small, only excited the rage of the crowd. For a long time, the draguns could not release the bloody, to death of the beaten factory. And for a long time, despite all the hot hasty, with whom the crowd tried to complete the started thing, the people who beat, strangle and tear the Vereshchagin, could not kill him; But the crowd pressed them from all sides, with them in the middle, as one mass, drove out of side to the side and did not give them the opportunity to do neither to quit it.
"Top that Bay, what? .. crushed ... Class, Christ sold! .. Alive ... Living ... For business Warmer flour. Bottling then! .. Ali alive? "
Only when the victim has already ceased to fight and the screeching was replaced by uniformly long hoarse, the crowd began to hurry to move around the lying, bloody corpse. Everyone approached, looked at what was done, and with horror, reproach and surprise it was crowded back.
"Oh Lord, the people are what the beast, where to be alive!" - I was heard in the crowd. - And the little one is young ... must, from the merchants, then the people! .. They say, not that ... as not that ... oh my God ... the other beat, they say, alive ... Eh, people ... who is not afraid of sin ... - said now The same people, with a painfully pitiful expression, looking at the dead body with mischievous, smeared with blood and dust and with a blurred long thin neck.