Leningrad journalist Eliseev about the play the reserve. The play "Reserve

Director: Sergey Zhenovach

3 hours 30 minutes with intermission

The play includes romances by M. Glinka, A. Alyabyev, I. Schwartz, Ray Koniff's orchestra, Frank Sinatra.

Sergey Zhenovach: “While composing the play based on the Zapovednik, we were all very inspired, worked with passion and interest. For us, a meeting with such a writer as Dovlatov is an event. His prose contains a powerful theatrical energy, he is very scenic, you want to listen to, pronounce, memorize his dialogues. At the center of this story is the writer Boris Alikhanov, who is in a state of internal crisis. He runs to the reserve to retire and rethink his life. This is a kind of binge of the soul.

Pushkin is a co-author of our performance. Through Pushkin, Boris Alikhanov checks themselves, the correctness of their relationships, thoughts, actions, memories. He is on the verge of a new life, before a choice that may or may not change everything. And Pushkin's poetry takes this story to another level. It is important that Sergei Dovlatov began writing a story in the Pushkin reserve. And he finished it already in America, when the act was already completed.

Reviews

"Reserve". Dovlatov Sergey. Studio theatrical art... Dir. Zhenovach Sergey. (premiere on 23.12.2017) Reserve; 5 Late Soviet times are not of much interest modern theater, unlike movies, or TV shows. Apart from Yuri Pogrebnichko, for whom the mood of that ...

"RESERVE", S. Zhenovach, STI, Moscow, 2017 (9) How beautiful great artist- Sergey G. Kachanov. In the young troupe of STI, he is in the position of the uncle, the playing coach. Amplua - age roles, small and strictly outlined. It seemed that ...

Of the four Moscow performances of the Zapovednik in my memory, the two oldest - “under the roof” of the Moscow City Council and in the Moscow Art Theater (the latter was called “New American”) - were, by and large, reduced to a set of sketches, stage reprises, more or ...

From the community moskva_lublu ... Because Dovlatov! At the famous Zhenovach! How can I miss that? Moreover, before that I had never been to the Studio of Theater Arts, although I heard a lot of good things about it, and even worked for several years almost in a neighboring house.

It all started out great. They even asked for extra tickets, as in the old good times... And in the foyer there was a large barrel with "grape wine" (in which we recognized something like a rkatsiteli) and an absolutely wonderful pourer of it. The atmosphere was completely created and we entered the hall, full of anticipation and expectations. By the way, the hall in this theater is quite small in width, but rather elongated. We had one of last rows, and despite this, it was visible perfectly.

The scenery turned out to be laconic - darkness and two bridges: one across - in the style of Mikhailovsky / Trigorsky, the other - a boardwalk and receding into the distance. Water splashed in front of the bridge. A man came out of the darkness onto the bridge, reached the end, lay down and made a pause worthy of Stanislavsky. Then he took a bottle of vodka out of the water, opened it and repeated the pause for an encore. In general, what was unambiguously successful in this performance was the pauses. Because otherwise, we, alas, with the director did not coincide with the word at all.

At first, the main character... Who is like an alter ego of Dovlatov. Not only is he significantly older than his prototype, this can still be forgiven, assuming a look at the life he lived from a height of years (although, as far as I remember, Dovlatov did not even live to be 50, so I doubt that such a gap in age at case this good idea). But this is an alter ego, forgive me, a rare bore. And this is no longer Dovlatov. The texts of which are charming, even when sad and sarcastic, but they are rarely sarcastic, and this is definitely not about the Reserve.
Dovlatov is not here at all. Alas. There is a sad, aging person who is depressed and constantly drinking. Constantly! Who does not paint the life of others with his presence, but plunges into a quagmire of despondency with them.

Secondly, the atmosphere. This is why I love Dovlatov's prose - it's an easy outlook on life, smiling and friendliness. He even writes about the Zone warmly and with humor. What can we say about Pushgory. Which are a charming reserve, not only literally, but also figuratively, of course, in the sense. And in this very figuratively its charm is not wasted in any way, but absorbs both layers. Pushkin and modern Dovlatov. Making fun and ironic about the customs and inhabitants of the Pushkin Mountains, Dovlatov speaks very good-naturedly about the time of work in the Reserve. There is nothing of this in the play. There is no irony, no humor, no warmth. It seems that the text is Dovlatov's too, but the intonations and accents are so different, that even the same jokes, it seems, are funny, but they are not the same.

Of course, we can say that the director tried to create two plans - this bridge and that one. Which do not overlap. Here is real mundane life ordinary people, there - "lofty" dreams of romantic girls from 18 and older, illusions, romances and other "intelligent nonsense". That going into darkness is each time going into a new darkness. That this performance is not about a Reserve, which is a book, but about a Reserve, which is a country, etc. etc. But the problem is that all of the above, this is probably both clever, and multifaceted, and somewhat refined even (oh, this cinematic black and white), but this is not Dovlatov! Perhaps this is Zhenovach, precisely his "drunkenness of the soul", only attributed to Dovlatov. Because the atmosphere is not from the 70s. The atmosphere from the 90s.

Thirdly, (which is really there, anyway they won't call me to Zhenovach anymore), I was somewhat jarred that Pushkin's words were covered with some deliberately disdainful contemptuous tone, transferred to the level of banter. The absurdity would be understandable, funny and, perhaps, appropriate and even natural in this context, but banter, sorry, no.

And finally. I love Dovlatov. And Pushkin. And the Reserve in all its forms - both real and bookish. But 3.5 hours - in this particular case, it is very long. Because it is static and immovable, and unfortunately (I didn’t think that I would ever say this about the play based on Dovlatov), ​​it’s boring.

In general, not my performance at all. Alas. : * (

On the other hand, I've read the reviews of others who looked (

The play includes romances by M. Glinka, A. Alyabyev, I. Schwartz, Ray Koniff's orchestra, Frank Sinatra.

Sergey Zhenovach:“While composing the play based on the Zapovednik, we were all very inspired, worked with passion and interest. For us, a meeting with such a writer as Dovlatov is an event. His prose contains a powerful theatrical energy, he is very scenic, you want to listen to, pronounce, memorize his dialogues. At the center of this story is the writer Boris Alikhanov, who is in a state of internal crisis. He runs to the reserve to retire and rethink his life. This is a kind of binge of the soul.

Pushkin is a co-author of our performance. Through Pushkin, Boris Alikhanov checks himself, the correctness of his relationships, thoughts, actions, memories. He is on the verge of a new life, before a choice that may or may not change everything. And Pushkin's poetry takes this story to another level. It is important that Sergei Dovlatov began writing a story in the Pushkin reserve. And he finished it already in America, when the act was already completed.

In this performance, among the old-timers of the Studio of Theater Arts (such wonderful artists as Sergei Kachanov, Anastasia Imamova, Olga Kalashnikova, Katerina Vasilyeva), 11 graduates of the Sergei Zhenovach Workshop last year (Alexander Nikolaev, Lev Kotkin, Dmitry Matveev, Daniil Obukhov, Nikita Isachenkov, Alexander Medvedev, Daria Mureeva, Maria Korytova, Varvara Nasonova, Elizaveta Kondakova, Ekaterina Kopylova). Although some of these young artists are already employed in the current repertoire, Zapovednik is their first independent work... We pin our hopes on these guys ”.

Dear viewers, we ask you to pay attention to the fact that the play has completely preserved the author's text, which contains profanity!
In the play contains smoking scenes.

In 2018 Sergey Zhenovach became a laureate theater awards newspaper "Moskovsky Komsomolets" for "The best performance "(Play" Reserve "); Sergey Kachanov - Best Actor "(Play" The Reserve "); Alexander Borovsky - as "The best artist "(Play" Reserve "). Also in 2018 Alexander Borovskiy became a laureate of the theatrical prize "Crystal Turandot" for "Best Stage Design" (play "The Reserve").

Forbidden for children

The performance runs for 3 hours 30 minutes with one intermission.
TICKETS: from 700 to 6000 rub.

The performances start at 19.00.

New Year's Eve premiere at the Theater Art Studio. Sergei Zhenovach staged "Zapovednik" based on the story by Sergei Dovlatov. The director calls Alexander Pushkin the co-author of the play. Yana Mira found out what happened as a result.

For many years "Studio of theatrical art" has lived by its own special rules. Only one premiere per year. All performances in the playbill were directed by one director. Sergei Zhenovach is rehearsing for a long time thoughtfully. Works with a permanent team, does not invite artists from other theaters. Almost all of the troupe's actors are graduates of his workshop.

This time - a performance based on Dovlatov, "Reserve". The writer began work on this text in 1977. Even before the first bell, Zhenovach plunges the viewer into the atmosphere of the era. A characteristic character, a chronicle of the times of stagnation. And on stage - a different world. Alternative reality. Thinking, gifted people who do not coincide with the official intonations. A complex Dovlatov game - either parasites or unrecognized geniuses.

"My youth intersected with the time when Dovlatov lived. And I also went the way of a creative youth get-together. Moscow truth is not St. Petersburg. Just like Dovlatov, we lived in some workshops. And every evening we got together, drank, talked. About art, about everything ", - said the Honored Artist of the Russian Federation Sergei Kachanov.

Only in such a circle was it possible to be sincere. The space outside the officialdom for Dovlatov was Pushkin Museum in Mikhailovsky. For the alter-ego of the author, the hero of Boris Alikhanov's story, the reserve is not just a place of action, a protected area. The image of the great poet is an important motive in this performance. The heroes remember him literally, in remarks - and internally check with Pushkin.

"The main face of this reserve, in which Boris Alikhanov exists, is, of course, Alexander Sergeevich. And in our theatrical composition we revised the story a little. We have a stream of thoughts, a stream of consciousness. His images are crowded together and the poetry of Pushkin appears - through which both Boris Alikhanov and other people check themselves, argue, think, comprehend, "explained director Sergei Zhenovach.

To get closer to the Pushkin atmosphere and Dovlatov's impressions, the production group went to the museum-reserve. They say there is a lot - like in the 70s. The house in which the writer lived shocked them.

The house makes this terrible experience... Monstrous. It's actually a barn. And this is how it is described in the "Reserve" - ​​my heroine asks, my wife - are you sure this is a living room? The slots are not sealed. He says: - Yes, through these cracks stray dogs came to me, - said the actress Katerina Vasilyeva.

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