About the play

Statution of the Shakespearean Theater "Globus"

Christopher Marlo, Libele, Had, Spy, Duelist, the same age of Shakespeare and a big "star" than Shakespeare at one time, became the author of the first dramatic processing of the legendary plot about a scientist, ready to sell the immortal soul for superhuman knowledge and power. It is from the play "The tragic story of Dr. Faust" begins a long series of artistic interpretations of conflict of faith and science, humility and pride: through a free-live Englishman, Goette and Heine, Pushkin and Bryusov, Thomas Mann and a series of other classics came to this powerful image.

Dr. Faust (Paul Hilton), disappointed in the power of the human brain, makes a deal with the devil: 24 years old, Mephistophelle serves him faith and truth, fulfilling any desire and giving the desired knowledge, but after the deadline, Faust should go to him in hell. Mephistofel (Arthur Darville) honestly performs the terms of the contract, but this does not save the Faust from oppressive thoughts that the term of a terrible contract expires ...

The first stage of the play Marlo in the modern Theater Globe was entrusted to Matthew Dunster ("executioners", 2016) - and an experienced British director walked around with the easiest text. Different acts of the plays garlo are so heterogeneous in style that some researchers attribute to another autric, "funny" scenes to another author, where the devilish practitioners of Mephistofel are intentionally reduced and ridicule. In addition, in the images struggling for the soul of the arrogant scientist of good and evil and the allegories of the seven mortal sins, Marlo still sounds over with a medieval morality, "not everyone can save the tragic and mystical nerve of the text.

Dunster succeeds in this - he launches the churchy theater machinery of the Elizavtian theater: reviving books, dragons, present hellish flames on stage, smoke, frightening masks, skulls and other devilish special effects, hitting the imagination of the parquet's inexperienced spectators at the time of Shakespeare and Garlo, produce ominous Impression today.

"The sky is created for man, and therefore it is better than all heavens," the temptation of Mephistopel's temptation in the lips of very restrained and gloomy in this role Arthur Darville sounds almost like a sarcastic replica of Hamlet "What a miracle of nature is a man!" And it's not by chance.

Garlo, although it makes the reversion of official religion, is removed from the condemnation and sinner, and a cunning demon. Faust tragedy, whose despair in the final playing the floor of Hilton in the final, in the presentation, Marlo looks like an illustration of the thesis "Good intentions, the road to hell is paved." And the representative of this hell is not at all the embodiment of lies; Mephistofel, the fallen demon himself, rather sympathizes a scientist, and perhaps in his face and all mankind.

Review

In the peak of Shakespeare, about which almost nothing (including the question from questions - who was a real author of his canon), Christopher Marlo was the most colorful and scandalous character of theatrical London of the late 16th century. If the Sun and Daily Star were already existed in Elizabethan times, Marlo would have been their favorite hero. Spy, Kutil, Deboshire, Blood, Deprait, author of the immortal quotation "The one who does not like tobacco and boys - idiot," Marlo could boast the most monstrous reputation in the century, when the monstrous reputation was measured like Gulfi's size. After the death of the playwright in a drunken brawl "Myth about Marlo" enriched with household diameter; According to one of the legends, during the representation of the "Dr. Faust", "to the great amazement of actors and the public" the real demons were pleased with the scene. Some of the spectators, "discouraged by terrible vision," are crazy, and one of the actors, Edward Allein, after retirement, was engaged in charity.

The statement of the Globe is far from being able to drive the most impressionable theaterons, although household damnsters and in it in bulk: "magical" theatrical focuses like the burning Healthy flame of books, magical chimneys or a lucifer's visit to the company of Velzevul and the unclean bed. The performance is generally extremely rich in the scenographic and plastic devilia: which is at least a spectacular phenomenon of Mephistople in the form of a giant goat skull or a comic presentation of a seven of animated mortal sins. All this incidental catatavation is implemented so convincingly and with virtuoso pace switches and the rhythm of action - which involuntarily overshadows actors, confidently driven by Faust Hilton (Kinomaans will surely remember him according to the role of Duke Oktawa in the Biographical drama Ruily Ruiz "Klimt" (Klimt, 2006) ).

As for the actual dramatic canvas, the viewer, accustomed to the solemnly pathos interpretations of the legend of Faust, should prepare for a long comic interclusion, cutting the play of Marlo and pretty distracting from the main action. Researchers still can not come to a single opinion regarding these comic scenes: some consider them later inserts and consequences of posthumous editors, others recognize an integral part of an eclectic copyright.

Be that as it may, but more than two hundred years later, Johann Wolfgang Goethe, developing the structure of his "Faust" (especially his second part), took advantage of the majority of Marlo ideas, including all the variety of comic divertisimations. Therefore, it is unlikely to go along the path of the authoritative newspaper The Guardian and accuse the director of this version Matthew Dunster in the lightweightness and "inconsistencies" of interpretations. In his performance, a fairly brilliant directorial ideas - like the born books of the first, "necromantic", scenes in the library or xylophone-cabarette maintenance of the most supernatural moments of action - to talk about it seriously. In addition, the Final Plays - the brilliant poetic monologue of the Faust, whoaring God for the postponement of the last sentence and its overthrow to hell - turned out to be accompanied by an infernal nabathy and gloomy music, truly ominous. Spy, Deboshire and Atheist Marlo would be satisfied - like Pantheist and a member of the secret council Goethe.

The philosophical tragedy in two parts, with a plurality of heroes and plot intakes, filled with metaphysical disputes and witchcraft sabers, is passed through the theatrical retort and turned into a dynamic, compact action, which is small with small. The referred, speculative concepts are converted by the director in bright, memorable images. And the extremely concentrated meanings are perceived, it seems not only on conscious, but also on the subconscious level. Lyubimov is not trying to suppress the viewer by authoritarity of one, once and for all the established interpretation. Tragedy Goethe everyone has the right to understand in his own way. Spectators can even "privatize" Faust ". Thete Goethe for the participants of the performance only auxiliary material, the original point of creativity. They can play it touchingly or ironically, as in the theater performance. Can be famously accumulated by choking a damage, and they may come in, as if Grigorian choral. Yuri Petrovich did not put any opera in Russia, but in his performances, the musical score plays an increasingly significant role. "Faust" is impossible to imagine without the music of Vladimir Martynov. The composer rightfully becomes one of the co-authors of the performance.

Great Goethe worked on the creation of his "Faust" six decades. And this is a deep philosophical work Magically attracts the attention of directors, composers, actors. Of course, work on the "Faust" is an important moment in the artist's creative life, a certain stage, an event. The artistic director of the theater named after the Evg.Vakhtangov Rimas Tuminas was reflected over the embodiment of the work of Goethe on the stage. And today, the viewer can visit this performance. According to the outstanding director, in the play Goethe a lot of humor, and see, hear these notes and intonation and convey to the viewer - for him it was very important. The only character of the "Faust", devoid of irony, remains Dr. Faust himself ..

Buy tickets for the play "Faust" Rimas Tuminas - for each viewer only one thing means to receive an invitation to an amazing theater evening. To visit the beautiful hall and enjoy the subtlety of the interpretation of large literature, a wonderful play of actors.

Joyce 07.02.2019 18:48:54

Beautiful performance! The actors hold the audience in Tonus from and to. Of course, Faust surpasses Mephistopheles, and the actor-demon is something to learn from a colleague. But it is only for the better. We are waiting for new speeches.

Eugene. 09.03.2019 22:01:55

Were on this play with the son of 14 years. Beautiful chamber atmosphere. The actor game fascinates. There is no scene on stage, but the game of actors is so diverse that you represent the entire plot in the colors. In my opinion, 14 years old is early. The son did not quite understand the text, before they did not read this story. But still, very impressed. Perfectly spent time, found new topics for the conversation, thought about the eternal, which actually was the goal of this campaign. And also broke out of everyday life. Thanks to artists. We hope for an ambulance meeting.

Alevtina 11.01.2018 10:32:51

The philosophical drama for reading is considered to be the main work of Johanna Wolfgang Goethe .. - a brief description in Wikipedia and not many there is a desire to open and read this work. But after the play "Faust" in the house of the actor, you will be 100% familiar with the creation of Goethe. With wise, but exhausted huge cargo knowledge by Faust and mercantile and the globally, a feature of you are immersed not in the philosophical treatise, but in a wise, an old fairy tale in the "Bulgakovsko-Gogol" style. In a fairy tale, which is always wins! At the end of the play, I don't want to leave the hall and so I want, as in childhood, what would face the fairy tale))

Svetlana Giri. 20.12.2018 14:02:53

I really liked the play Faust in the house of the actor, the guys lived on stage, handed over the intention of Goethe, sparklingly with the storm of emotions! Place in the center of 1 row. Thank you for the wonderful deep impressions !!!

Grigory 25.10.2017 17:38:10

Faust. Goethe. These two words were familiar to me since childhood, but before the work for my, forgive the Lord, 28 years old, so did not reach the hands. Going to this performance, no idea what he was about. It was possible to thwart a summary, but did not, because I wanted some kind of surprise, surprise and holiday. What, in fact, received. I really liked how the dark and light sides of the human essence were displayed, the resonance was good, at some point I felt the deepest longing, when there was a feeling that there was no evil, everything contributes to development, in general, live, yes, rejoice. Total: I want to go again. The ticket is better to take in advance, a day before the play, the last places were taken, there was anchlag (without Petrosyan).

Yuri Rogozin 26.11.2018 21:20:38

Faust and Bes
Cocktail from Pushkin, Goethe and young tanners turned out to be much hip champagne, even if he was heated, shake and suddenly open. Bend and Siphed Old Man Faust (Eric Dasney) for the youth and joy of the world sells the soul to the shustroma and incredibly funny Mephistophel, something like Peter Falk (Martin Herohinovich) ...
From the scenery - only five black cubes and a broom, which will be with a motor, and which will fly a sweet couple Faust Bes. But how it works! .. The old man turns into sports well, from the position lying down the jerk of the steering wheel on the type of steel spring, with a snatch voice, burning gaze and passionate desire to stop the time, and the deft hell is dipping him into the abyss of pleasure ...
Directors (and directors - the same aforementioned actors) Everything is done flawless and subtle (the only one, in the scene with a lantern, as when interrogated, directed into a small room right into the radiant eyes, from which, Sidychi in the second row, I hid behind the back of the girl From the first row, a little change the direction of the lamp!)
The performance is enchanting, ultra modern and philosophical. "I'm bored, the demon!" - exclaims the Faust begging barefoot. Everything passed, everything is tested. And here - a completely unexpected turn: It would seem tired of the found worldly happiness and sweet jellies Faust finds the meaning of life ... in human freedom! And then his soul suddenly disappears at all ... And the poor feature is frantically breaking his hands, mourning the soul stolen right from under the nose (apparently, with blond forces), for which he has already received the believed receipt ...
I did not have the opportunity to take pictures, so I put a photo from the site of the central house of the actor, with the assistance of which and on a small stage of this performance and has a happy life. Bravo, Eric and Martin!
And slightly stopped the time of the elderly snail in the wardrobe of the CDA, lonely with the audience their jackets and polita ...)))
... I got into the theater I was not by chance. Eric, who invited me to this fantastic action, will play in my film "The number of death" is a very interesting role. Faust can! ..

Alena Karas.

Yeresses of simplicity

Goette's mystery has become an internal stimulus, which brought Lyubimov to the "Future".

On September 12, the Lyubovskaya "Taganka" opened its new season. And the 30th she will celebrate the 85th anniversary of the Master. On the eve of this day, the famous director made himself a gift - put the famous tragedy "Faust".

Thousands of pages are written about the nature of creative longevity. The mystery of a long fruitful life, when, enveling wisdom, the Creator does not lose her gifts, worries anyone who is obsessed with a poor writing. On the eve of his 85th anniversary of the Patriarch of the Russian Theater, Yuriy Lyubimov composed a performance on the topics of the Getya "Faust" - the youthful Opus about the temptations of old age, about the countries of the human mind that the artist opens at the sunset of life.

Perhaps the riddle of Goethe and his creative genius, who did not doubt, but only a distinguished one over the years, became an internal stimulus, which brought Lyubimov to the "Foust". There are also at least one motive, no less significant: since the same time, when Taganka was a stronghold of Soviet liberalness, loved kept loyalty to frivolous fronds and martyrs of freedom, suffering from Soviet captivity. Among these latter, Boris Pasternak was always for him. His translation of the "Faust" with poetic liberties and the accuracy of internal meanings was not a smaller object of interest for a loved one than the creation of Goethe.

Faust always interested the theater in the era of crises and change. Only over the past three years there have been many statements of the Getya tragedy in Europe, among whom are the performances of Petaner Shtyina, Roberto Choleli and our compatriot Boris Yuhananova.

Lyubimovsky essay differs from them primarily by its format - this is not a monumental epic, but an almost frivolous joke, a light sketch, in which any deepness sent to the backyard action. Only the Leonardovsky "Golden section" - the famous Renaissance man, inscribed in the circle, is the visual center of the composition and around itself all its streams and divergent trails. But also this "in the middle of the world" standing person accompanies in the play of Lyubimova. Humorian paraphrase is an image of a human embryo, elegantly inscribed ... in a condom. He hangs as a sign of all frosting, suicide in the fate of man and humanity. Between the predetermined merge of man and the horror of non-existence, the harvest is located the performed humor plot of the new Lyubovsky essay. The performance will be short that the mass public can easily consume it, because the convenience of consumption is the God of Democracy, its basic value. In confirmation of this, the Program has "Securities" - a privatization check for 10,000 rubles per validity until December 31, 1993.

Brushing and having fun, not exaggerating and not lucvy, loved with Goethe, reflect on the fate of imaginary and genuine values.

First of all, after Goethe, he is aware of a high and true price of youth and therefore, inhabits his performance with young actors of his new course in Rati. Almost children, movable, well-singing and dancing, they hold the rapid rhythms of the Lyubimovsky performance, in which philosophy is crammed in the clothes of light genres, almost musical. Step, light chasing of the heels, makes it a rhythmic basis.

Perhaps one of the main meanings of the Lyubovsky Theater is in his many years of passion for the translation of the poetic text to the Teatral text. The covenant Goethe "drive action" was the basis of the new essay. Step Rhythms as rhythms Rhymes - and now the composer Vladimir Martynov, known for its monumental and serious writings, such as "crying Jeremiahi", supplies a loved performance by a humorous musical texture. Favorovsky "Faust" is not overloaded by fruitless meanings, he first of all - it hits and dances. Music and poetic rhythm - his inner basis, the implementation of the Pasternak line - "You can not fall as heresy to the unthinkable simplicity."

Unlike the previous loved performance, where Satan rules Ball (be it "Master and Margarita" or writings on the topics of Gogol and Pushkin), there is no gloomy demonism in Fauste. All, even the infernal night scenes of the Valpurgian night, in which one terrible fantasy replaces the other, fulfilled in Lyubimov, the same ease of the pop revision, which is also marked by the whole performance.

Lyubimov, always sensitive to the noise of time, the best works of recent years carry out in the form of a pop show, circus, variety, revi. In today's aesthetics, he definitely returns to the youth of the Director's Theater - to the experiments of Meyerhold, to Facks, to the eccentric of the 20s. Together with the directors of the new time, he clearly prefers the physical aspect aspect aspect. He is ironic over the talent psychological theater, accurately speaking: "The actor's philosophy is in the legs and the body, and not in his poorly feel." According to Lyubimov (Didro, Meyerhold, Brechtu) to master the body means to master the thought. His Mephisto is a wonderful young actor Timur Bandalbeili - a vivid example of technical perfection: free, liberated, elegant in every gesture. Like the Faust from the first part of Lyubimov is clearly designed by this energetic positivism of youth. And sometimes excessively. Light rhythms are revised, well-friendly for the first part of the tragedy, obviously not sufficient for complex harmonies of the second.

And yet, it is precisely in the ease of loved ones, in the knocking of marsh heels from one scene to another, the favorite Pushkin and Goethe of the Metaphor of Poetry as a strong inspirational race, as a light champion of random clutches, of which the meaning is non-violently born.

	Yuri Petrovich Lyubimov swung on the holy - turned the philosophical treatise on the tragic knowledge of human nature into an eccentric action, which is most suitable for the definition of "musical"
	Among the many delirquered devils, the main features were clearly allocated - Timur Badalbayyli in the role of Mephistople
	Photo Mikhail Guuterman

Results, September 23, 2002

Marina Zaionn

Goethe in the rhythm step

To its 85th anniversary, Yuri Lyubimov set "Faust"

The newest theater mythology recorded Yuri Lyubimov to the fighters with the regime. And put on this definition the final and fat point. The current theater workers firmly know that he fought with officials not on the belly, but to death, received a reprimand on the party line, was expelled from the country, at the beginning of the restructuring returned and did not fit into a new reality, who discarded the political theater. All this is true. But not complete. And certainly not the main truth about the director of loved.

But what was forgotten, erased for years of years, not always grateful descendants. During the years when the Soviet theater, the Soviet theater, with difficulty, had occurred after the policy following only by the Stanislavsky system and barely began to recognize other worlds, Yuriy Lyubov was one of the first to break the universal stupor. The portraits of Meyerhold, Vakhtangov and Breht, Vakhtangov and Breht, loudly hung in the lobby of his theater, let the street element of the rally game and the unprecedented, kramol metaphors, really before the loss of consciousness of the thrusting chiefs. Boldly combined on the scene a pantomime, clownade, grotesque and lyrics, moved the action to the auditorium, in the lobby and to the street, learned from the chaos and a variety of individual pieces to create an integer. Then, according to the novelty, he almost did not have competitors. But now all who is not too lazy (directors, actors going to the director, and simply lovers) will establish the conventionality of theatrical agents and the uncertainty of stage images, considering it the first sign of good tone in the profession.

Bunuya against a narrow framework of traditional drama, loved first guessing the opening gateways, and Russian literature (and poetry, we note, too) on the scene on the Taganka of the theater on Taganka. With a revolutionary and decisive gesture, he freed her from the usual staging, starting to create free, whimsical compositions, carving a new, unexpected meaning of risky collisions of heterogeneous passages. Thirty years later, it became the common place of the modern theater process.

As you can see, Yuri Petrovich always loved violate the rules and long-established norms. I could not calmly look when everything was sealing to the baille, immediately broke the established order and the bastard suited the tongue to everyone waiting for peace of calidity and order. In the first profession, he is known to be an actor, and therefore everything he did, it turned out defiantly demonstrative. His mother was gypsy, maybe, therefore, anarchic liberty is in his blood. In any case, in his performances, he always felt like a robbery born and sly, and sometimes evil mischief. He is now, at 85 years old, misornik at least where. I took and put a new performance voucher in the program. Yes, yes, that very, 1992 privatization check with seal and squeezed signature - Y. Lyubimov. Why put it, remained a mystery. Maybe this is a sign that each of us has your Goethe, so to speak, privatized?

By the upcoming September 30, the anniversary of Yuri Lyubimov prepared a "Fausta", swinging on Goethe at least decisively than in the old years on others, also enough important classics. Therefore, it may be, and put the best performance in recent years.

The presentation genre on the poster is not marked, but essentially this musical (Music Vladimir Martynova). And if someone seems to be that this is too much regarding the philosophical monumental essay Goethe, then he is clearly not on the way with the theater on Taganka. It is better to fall behind and not be nervous in vain. Because Lyubimov puts into the epigraph, these words from this very "Faust": "Our viewer is in most unsoon / and we support in life most ..." - and a little further: "And most importantly, drive action / live action, behind the episode Episode ... "A certain person called in the program director of theater often these words in the performance repeats, configuring the already rapidly flying effect.

As always, the loved one has a well-invented form determined the creature of the performance. Stylish scenery (Boris Messer), temperamental, well-learned, perfectly singing artists, rigidly given rhythm - and the case is done. The Lord God matches the Devil Mephistofel to put an experiment on a person to prove the known known - he (the person is) is imperfect. Dressed in black fraks of devils armed with brooms, bellwise and tirelessly beat Step, despicable everything in its path. Split episodes, faces, topics - all in the forward, on the fly, as if joking and playing. Lyubimov defiantly turns the Holy Saints into clowning - the philosophical treatise on the tragic knowledge of human nature. He will be laughed where it is customary to make an important face and thoughtfully raise his eyes to the sky.

The second part of the "Faust" really few people read, and the first to remember the unreludinously, but about what it is about what a strong, everyone knows. And then - the whole performance is hit by a check, and the meaning of what is happening escapes like a fish from the hands of an unlucky fisherman. It seems like that, hooked, picked up, felt herself with a hero and clever, but no - again by.

Of course, it annoys. One oldest folk remedy remains particularly excitable - relax and enjoy. That is, see how vigorously and clearly organized the action, as the style of the actors, as a guide, and at the same time, easily plays Mephistofel Timur Badalbayyl, how serious in the role of Faust Vladimir Chernyaev (in fact, the loved one has two Faust, old and young, but a day Alexander Trofimov became ill, and the young Chernyaev was very successful for two), hear how she sings well (and truly touching Margarita / Gretchen) is completely young Alexander Basova.

And if the word "meaning" persistently and irritably still knocks into your heart, after all, I can come home, take a book into your hands and immerse yourself in reading. Is it not the goal that everyone is desirable?

	Photo of Catherine Flower

Culture, October 3, 2002

Natalia Kazhamina

Faust. Fragment

Performance Yuri Lyubimova in the theater on Taganka

To read the entire "Fausta", as I calculated Yuri Lotsimov, it would take 22 hours. Still, this Grand Book of Goethe composed all his life. The idea originated when the poet was 20, he began to write in 25, returned to this idea when he was for 50, finished the first part in 57, he spent almost 60 years old and, by the way, did not see, never saw "Fausta" in lifetime printed. The performance of Lyubimov lasts 1 hour 45 minutes. In one this is the challenge. As he loves to repeat the director, he is not as he is the Tsanta to take the attention of the viewer for a long time. At the same time, in the Lyubovsky "Faust" there is a feeling of a whole and there is no loss of irreparable semantic losses. This is a very personal statement in which the experience of all life is invested. As vintage engravings in Safyan bindings are papied by cigarette paper, so the director shall be aslalecting the favorite text with scenic comments. His abstract "Fausta", naturally, in places of dashed. But in the character of the dotted and there is all the salt. In the case of loved one, even the analysis of the crown could be the subject of adultery linguistic research.

Loves makes her performances for everyone and does what he wants. It is fundamentally. "Faust" will be interesting even to those who have never knew about the legend of Taganka. They immediately catch this style Sturm und Drang, because branded lovers are present in the performance. Exculsions of the "Good Man from Selyan" and "ten days that shook the world" It seems this attempt to build an acting choir in the main acting face of the tragedy Goethe. The performance hooked and those who "Faust" did not read or leafed, but at least a couple of times in his life thought about the sense, dreamed of the goal, regretted the tack, the death was afraid. Oddly enough, the one who read the "Faust" read and believed that he knew him well. This viewer can be advised not too cling to their delusions.

If each of us has "your Pushkin", then why don't you like to have a "goeta"? Moreover, "his" "Faust" actually does not have any of us. He is not a desk book of the modern reader. Even such that loves smart books. Almost confident that most of us "Faust" read little and somehow, they have not reread and burned badly. So the overall impression and ignoramus, and the signs about Faust are actually almost identical. Everyone knows that Faust is the great book of the Great Poet, a grand fresco on the history of mankind. They also know and belong to this massive lump with some formal-identical reverence. Something remembering a fairy tale about a scientist and a feature, about the sliced \u200b\u200bDevil's soul, about the temptation and abandoned Gretchen ... Of course, remember and the immortal phrase "stop, moment, you are fine!". However, if you play the game "One hundred to one" and ask people on the street, what a moment, Faust considered decent to perpetuate, the answers will be vague.

According to Goethe, "Faust" wrote, "forging as a cloud." Also the loved play. He arises from lyrical haze, when the master of the master says the words of dedication: "You are here again, changeable shadows, worried me for a long time." In the voice of the director, the uncomplicated sadness - about losses, about the broken circle of friends, about the cooled youngest. Then the performance is thickened into the thunderstorm cloud and sheds the rain of clear on the meaning of visions and feelings. Lyubimov would not be, hiding him without irony. For him, a person seriously relates to himself, "stupidity. Therefore, the romantic tragedy of the history of mankind, in Goethe, Lyubimov sets out the tricky and inconvenient - as the instructive life of a person. And under the stencil of the hetevskaya poem, naturally, puts his own biography, drawing up important phrases and images by the directorial pencil. The idea is clearly embodied in the design of the performance (artist B. Verier). The main visual image of the "Fausta" is the two famous Lonardo drawings: a man with stretched hands, inscribed in a circle and square, and a human embryo in the maternal womb. Circle and square rotate, symbolizing a run of time. The embryo, similar to an orange slice, cast from ice and suspended to theatrical stall. Throughout the performance, he melts silently. This stunning manner (although it would seem that the innocent joke of the theater) - life suspended in the hairs, life, melting in front of her eyes, - Lyubimov also prevents himself, and any viewer from the daily vulgarity, which we all alive, alas are subject to.

Faust Favimova is not so much a goggleless poem as a parable about how a man struggled for his life and thought. Virgilius drove Dante in the circles of hell, why does Mephistophel not tell the Faust in the circles of life, presenting it as a chain of Sharad. It is important for Lyubimov that Mephistofel is inflamming this test on a collusion with God: unfolds before Faust, like a scroll, "Stream of Eternity", the pictures of human suffering, sins, meaningless attempts to live well and boring attempts to live correctly, - and curiosity is waiting for the reaction. The director is deprived of the delusion of some readers of Faust, for which Mephistopheles is just a small demon, ordinary Satan. Lyubimov already put "Masters and Margarita". In the brilliant execution of Timur Badalbeyl, a very precisely feeling of the director, Mephistofel - the power that "works well, wanting to evil everything", the most charming character that more than a century will be described in the immortal novel Mikhail Bulgakov. Without this force, it is not understood that there is good. Sophistication, of course, but how is spectacular.

In "Faust", a fragment of Requiem Vladimir Martynova sounds - the most requiem, which floats under the windows of the new theater Anatoly Vasilyev in the play "Mozart and Salieri". But if Vasiliev takes this melody in strict the diagnus of the Mystery, then loved to sound on the square. He likes that the legend of Faust began as a popular drama, he led in a puppet theater, in "books for the people." The most remarkable (and thorough) in the play of Lyubimov is a sense of the style of the original source. In an unimaginable rude mixture, a tearing chastushka and a lyrical ballad, "Top Alexandrian verse" (N.Vilmont) and "Plebea Roughness" in the spirit of Aristofan "(A.Anikst)," Living spoken intonations "and" tragic patient "," stuck The epigram "and" the breathtaking hymns "..." Goethe with the striking ease moves from one tonality to another, from one rhythmic figure to another: the poetic system of his creation is similar in this regard symphony, "Alexander Anikst admires. Lots with the same amazing ease follows the heels of this comment of his left friend. Why is the hetevskaya poem, who has recently seemed to be an iceberg, comes out on the audience a lively avalanche. Perhaps the Lyubovsky play is able to return the "Faust" in the comfort of a modern reader, transferring it from the category of passive reading in bestsellers.

Faust Lyubimova does not look like a bogobor - on a fighter. Faust young is much less interesting than Faust old. The sluggish, loose and blurry, as on an uncomplicated photograph, a young Fatust (Vladimir Chernyaev) there is still a lot of errors who die out of Rock and lose his main delusion: "Here is the destination of life young: the world was not before me and created by me." This is all 85-year-old lovedness is not well known. But this is all won, for brackets of the main topic. Lyubimov worries Faust old. In the tragically meaningful execution of Alexander Trofimov, he is a philosopher and observer by the will of experience and life circumstances: a person who left the pride superman, who worked the limb of life, but still choosing - not the word, not a thought, not a force, but the matter. He is doomed to strive for the goal, even realizing that the approach to it is not absolutely, but just estimated. This Faust seems to be a undoubted alter ego director.

One of the strongest episodes of the performance is the blinding of the Faust care (the love of Selyutin). Now the hero is not only not able to know his ideal, beautiful Elena, and find the formula of permanent femininity (she sings the final choir of the Lyubovsky play), he will finally cease to take this world close to the heart and will gain, maybe light, and peace. He is waiting for a common sad outcome - old age, blindness and helplessness. But it is here - with delight - and the famous "moment, having fun!". The last moment and opens the truth before Faust: life itself is beautiful with all its temptations, flour and temptations. However, no one learns about other people's mistakes.

In the boilers and frisses, the crowd of a tenty-tenty, led by Mephistofel flying to the scene. He is in a red hat with a roasting feather, in a black fruit with a bloody approach. For the most famous melody of Scott Joplin, they are down so that it becomes hot. He fade and wipes Lysin. Perhaps a little bit more - and the young loved one will work not worse than the famous Broadway "Corus-Laina". Pleasantly. In this new, typical Brehtov creating taganka, so many focus and details, "lotions", seasonings and hidden quotes of Lyubimov from Lyubimov, which is sorry to retell. In the end, everyone has the right to eat this dish under its own sauce. One, in my opinion, is undoubtedly: "Faust" is useful to revise, "how the thoughts of black to you will come." In a minute, this should help.