Mkht forest. Towards the end of the outgoing year, the Art Theater burst out with the brightest and most memorable premiere of the current season

Of the previous, most successful productions in Serebrennikov's Moscow career, Les is my favorite performance. And then there was "Kizhe", and "Golovlevs" - I managed to revise 11 years after the premiere before they were removed from the repertoire, and unfortunately, at that time some unsightly rubbish remained from them.

In general, I only saw "Kizhe" once, he ordered to live a long time even earlier. And the "Forest" is still going, only I still do not get on it. But then, after Bogomolov's run on the small stage, he decided to run from the intermission. And it must be the same - the performance is absolutely alive! True, Dmitry Nazarov in the role of Neschastlivtsev acts somehow very "backhand", recklessly - maybe these are the quirks of memory, but it seems that earlier his hero behaved a little more carefully, especially since in a duet with Nazarov, brightly, in a farcical key, but at the same time, without for a second forgetting the measure, there exists the Leont'ev-Neschastlivtsev Vanguard, whose role, it would seem, presupposes much more grotesque colors; and next to him, Nazarov's overlaps give off a foolishness, in which it is not clear what is more - archaic, but sincere author's pathos, hidden director's sarcasm or cliches that have grown on the performer over the years. In addition, the subsequent, especially recent premieres of Nazarov - both "Dear Treasure" and the fresh "Sleeping Prince" - being worthy works in their own way, are still not among the achievements that contribute to the creative growth of even a very experienced artist. But undoubtedly, Natalya Maksimovna Tenyakova is still, if not beyond the former, delightful, brilliant, fearless, uncompromising. After all, she didn't have so many significant premieres after Les, offhand - Bogomolov's “The Year Before I Was Born” and “The Jeweler's Jubilee” and that's all, but at least the grandiose “Jeweler's Jubilee” is now a kind of unexpected, “ unearthly ", a metaphysical reflection casts on the grotesque everyday character of her Gurmyzhskaya in" The Forest ".

However, apart from the desire to refresh my long-standing enthusiasm, I had a very specific interest in the "Forest" in its current state. And I watched the premiere performance, and I re-watched Les, naturally with Yuri Chursin. How many years since Chursin left the Moscow Art Theater, and Alexander Molochnikov plays Bulanova for some time now (I must admit, I didn’t keep track of which one). The introduction of Molochnikov into "Les" is appreciated and understood by few people - unlike Bogomolov or Butusov, Serebrennikov has practically no fan audience who has attended the same productions dozens of times over the years. I, in turn, am not one of the unconditional admirers of Molochnikov, I have my own prejudices against him, but definitely his presence in the "Forest" gave the production, which at the output was perceived as an experimental revelation, and now looks like a masterpiece that has stood the test of time, a textbook classic modern Russian-language theater (so it’s impossible to believe that Les was staged by the same Serebrennikov, who now, using the conveyor method, rivets semi-active pretentious garbage in his Gogol Center, in comparison with which even amateur directorial experiments of the same Molochnikov at the Moscow Art Theater benefit a lot ) not only a new vital impulse, but partly also a new content. Twelve years ago, in the wedding of the characters of Chursin and Tenyakova, I saw a parody and "mystical" (the concept of "sacred" entered everyday socio-political use later) the marriage of Putin and Pugacheva, the "old", decrepit, but not leaving the scene of the late-cold world and crushing it as if it were a "new", shameless and shameless generation of leaders with not completely clear, but frightening intentions:

Today's parterre cattle are inclined to consider this move (also outside of a historical perspective - not everyone in the audience realizes how old the performance is and when the premiere took place!) microphone no worse than Chursin reproduces in the banquet episode of the last act, the corresponding intonation, plastic and mimic drawing. Such a harmless secular "skit" turns out - what is the funniest thing, at the time of the premiere and a reason for fantasies about the possible marriage of Pugacheva with Galkin, no one had, starting with Maxim himself (I know this for sure), but go ahead, how perception changes depending on the context and over the years! But the matter is not only in context - objectively, the Bulanovs in Chursin's and Molochnikov's are very different. There is nothing ominous about Aleksey in Molochnik, on the contrary, he is not devoid of negative charm, a kind of artistry - not just in contrast, but also in his resemblance to Neschastlivtsev! There was also something demonic in Chursin's character, and yet some sort of, albeit petty, but rational element, and Molochnikov, mobile, like a hinged doll, embodies a downright clot of irrational energy, devoid of any reflection, vile by its animal nature, not by head calculation.

In general, life has become worse, and the theater has become more fun - the comedy, or rather, vaudeville beginning of Serebrennikov's "Forest" over the years, not only has not lost it, but has gained a lot - and this I, having come running in the break, missed the hilarious duet scene of Gurmyzhskaya and Julitta in the first act ("But you and I are the same age? .."). The socio-political acuteness of the original plan, on the contrary, smoothed out a little - but not because the performance itself was exhausted, but because of the changed situation around. However, what is still striking - with some artificiality and obtrusiveness of the composition built by Serebrennikov, with abundant direct quotes from Shakespeare and indirect allusions to him, the existential plan of the play sounds piercing today - and is mainly carried out through the image of Julitta, which he, in many respects across the play, was invented directed and played by an actress. When I came to Les, Evgenia Dobrovolskaya was on another maternity leave and my beloved Yana Kolesnichenko played the role of Ulita.

Dobrovolskaya gave birth and returned, having managed to celebrate a solid anniversary since then, but against the author's instructions, young Ulita still remains the most important counterpoint for the staging concept of "Forest", both with her eternal female dissatisfaction, and with almost infernal insight, which is especially clearly manifested towards the finale the monologue of the mad lady from "The Thunderstorm" with the "Hamlet" skull in her hands and, right under the curtain, the funeral wreath that Julitta throws at the feet of the bride-Tenyakova at the final common tap-hole.

17. Moscow Art Theater named after Chekhov. Forest (A. Ostrovsky). Dir. Kirill Serebrennikov.

Doshirak from the chef.

The branded emerald programs that are sold at the Chekhov Moscow Art Theater well satisfy the information hunger - here the repertoire, the history of the production, its participants, biographies of actors and creators, there is even a vocabulary and many photographs. How will one of the most famous contemporary theater directors (including the scandalous) Kirill Serebrennikov satisfy the spiritual hunger of the audience?

The action was transferred from the 19th century manor in the 70s of the last century, to the Soviet retro setting, where part of the interior you can see the Rigonda radio, a crystal chandelier, and on the children's courtyard from the past there is a wooden bench, swing and steel horizontal bars and young people listen to jazz ... The backdrops, replacing each other, depict a forest, then autumn, bright red, then winter, white and blue.

The heroes are also "modernized" and actualized to the point of impossible, to the point of scandalousness: Gurmyzhskaya has turned from an imposing, sedate landowner into a pretentious, imperious pensioner, casually talking to everyone in a nasal, seemingly drunken voice. Always dissatisfied with everyone, impudent, she has one passion - to marry a young Alexis; neighbors-landowners became old purses-friends of Milonova and Bodaeva, who love to gossip together, lounging in armchairs; young people, without exception, have become stupid, imbued with cynicism and exceptional pragmatism: Bulanov is now a time-consuming gigolo and dandy, prancing around the stage like a bunny from Playboy; Aksyusha and Peter - two daring, frivolous and stupid teenagers, overwhelmed by the action of hormones, Peter became an impulsive idiot with his hair slicked back. Julitta has grown younger and with her foolishness, obsession and activity gives odds to everyone else, bringing dynamics into the action, frantically serving her mistress.

The bright duet of Neschastlivtsev and Schastlivtsev, performed by Dmitry Nazarov and Avangard Leontyev, deserves a separate word, which is firmly attracting the attention of the audience with its selfless and cheeky play. There is a feeling that the actors are enjoying their roles, they cause laughter. This half-insane couple of two wandering actors who love to cheat, tragedian and comedian, ragamuffins and rascals, are remembered almost more than everything else in the play. Neschastlivtsev, a comical balabol of gigantic proportions, however, not at all evil and completely disinterested, is not averse to getting involved in any adventure that comes along. He loves impromptu, often talking nonsense using his acting literary baggage and theatrically straining. He seems to be completely confused where is the reality and where is the game. The ridiculous and beautiful-minded idiot Schastlivtsev with a plastic bag on his head and metal string bags, in which he wears his simple belongings, acts as his faithful squire.

The merchant Vosmibratov predictably evolved into a modern businessman. At the time of another deception when buying a forest, he easily returns to his roots - turning into yesterday's "brother" from the 90s in a leather jacket, black glasses and thieves' habits. The modern freak show of characters ends with two surprisingly fat female servants, moving across the stage at a wild speed, furiously flapping their fat sides, bringing an atmosphere of light surrealism.

The story of Gurmyzhskaya and Bulanov is interrupted with the appearance of another main couple - Neschastlivtsev and Schastlivtsev. The irrepressible Neschastlivtsev invades the world of Gurmyzhskaya and takes the initiative. All the brightest scenes of the performance are with the participation of Dmitry Nazarov: the meeting of Neschastlivtsev and Schastlivtsev in a cheap railway station beer hall with men's conversations “for life” and a “serious” conversation with Vosimbratov because of an unpaid thousand rubles. Neschastlivtsev becomes the protagonist.

The director does not let the audience get bored even for a minute. One of the author's techniques is when something happens in the background. Here, near the backdrop, Peter looms, tucking his shirt into his pants, drinking vodka or bawling songs in family shorts at a time when small talk is taking place in the foreground. Live music also greatly refreshes the perception - a quintet plays in different combinations in the performance: grand piano, double bass, wind instruments, guitar and accordion. A large children's choir with a conductor appears several times.

Children sing about Belovezhskaya Pushcha - the remains of a primeval relict forest, and if Ostrovsky has "owls and eagle owls" in the dense forest, then Serebrennikov's forest has become much thicker, more ancient, and the inhabitants have turned into overgrown bison and mammoths. I must say that the director makes fun of his experimental characters, even scoffs. They are grotesque, turned inside out. Gurmyzhskaya frenziedly and awkwardly gesticulates, wringing her hands, Julitta performs the duties of a servant with abnormal zeal and grimaces, and Neschastlivtsev's drool is flying from his mouth during a pretentious monologue. This performance is not about money, love and power, but about modern people tired of life, long gone astray and whose morality has fallen asleep. They regressed, became dull, deteriorated even more. And if earlier they tried to cover up the unseemly with good manners, now not a trace remained of the manners. People have become more vulgar, cynical, vulgar, more unpleasant.

The audience accepts the play and the story about themselves remarkably - they hear a lot of laughter, sometimes hysterical. Here, a strange gray-haired and tall maiden, at first quietly gagging and gurgling with laughter, finally ceases to control herself and laughs more and more louder, starting to clap out of place and shout "Bravo!" - unspent energy is bursting out. But this is still not a classic, but entertainment, there is little left of Ostrovsky. Sterlet ear with burbot liver and milk in a porcelain plate turned into Doshirak from a plastic box.

Nearest dates:

Actors: Anastasia Skorik, Ksenia Teplova, Yuri Chursin, Evgenia Dobrovolskaya, Yanina Kolesnichenko, Natalia Tenyakova, Galina Kindinova, Raisa Maksimova, Galina Kindinova, Oleg Topolyansky, Oleg Mazurov, etc.

Duration: 3 hours 30 minutes with 1 intermission

Ticket prices from 1050 rubles.

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Photo of the performance:

Comedy at the Chekhov Moscow Art Theater

The troupe of the Moscow Art Theater. Chekhov invites everyone to a great play Forest... It is based on Ostrovsky's play. The author himself admitted that he considers this work his best. Kirill Serebrennikov presents the author's version of Les.

The stormy current of theatrical romance is alien to Kirill Serebrennikov. He fights with her, challenging the everyday life of society. It goes without saying that the director owns the genre just fine! One of the creators of the production is the artist Nikolai Simonov. Together with the director, they transfer the characters of the production to the 70s of the last century. You will see the world of Soviet people who dream of forbidden happiness.

Serebrennikov paid attention to two storylines of Ostrovsky's work at once. A rich lady, played by Natalya Tenyakova, trades in timber and dreams of a young Bulanov, in whose image Yuri Chursin appears. At the end of the production, Bulanov appears in a white shirt and black suit. Bulanov became the president of Russia right at his wedding. All this takes place to the accompaniment of a children's choir. You will also hear pleasant Portuguese, French songs, melodies played on guitar, accordion and double bass. On our website you can make an order tickets to the Forest to the Chekhov Moscow Art Theater, choice online or by phone through an operator.

Wandering actors comedian Schastlivtsev (Avangard Leontyev) and tragedian Neschastlivtsev (Dmitry Nazarov) are the main characters of the second storyline. They will delight the audience with an incredible combination of tricks and humor.

In general, Serebrennikov's interpretation of The Forest is very funny. You will enjoy great acting for three hours.

Tickets to the Forest

To order or buy tickets to the play Les to the theater of the Moscow Art Theater named after A.P. Chekhov, you just need to call us or fill out the order form and place an order, having received your application, our consultants will call you back and advise you with a choice.

I am constantly citing the statement of V.Ya. Wulf "Olga Leonardovna died not so long ago ..." For how many years Vitaly Yakovlevich hasn’t even been ... However, Kirill Serebrennikov’s "Forest" has been in the repertoire since 2004, although it rarely appears (I don’t see dates for October ...). For me, at one time, not "Plasticine", not "Terrorism" and not "Frank Polaroid photographs", not even "Bourgeois", but it was "The Forest" that became the play in which Serebrennikov at that stage proved himself to be an excellent master, the highest class as a professional director: after Les, it could be either a fool or a liar to reproach him for "amateurism", referring to the lack of "special education"; yes, perhaps a fool would not - it is too obvious, how cool, well, a large-scale, multi-figured, long, and in one breath flying performance on a bulky old play and how it suddenly sounded fresh and still sounds very cool!

I was revisiting Les with Molochnikov, who was introduced instead of Chursin for the role of Bulanov, relatively recently, but ran from intermission to the second act:

Now I came to look, as it should be, from the beginning, in its entirety - and I simply enjoyed myself, revel in it; this is in addition to renewing impressions, observing how not even the performance changes, but its perception. Aesthetically, let’s say, it is somewhat outdated - for sure today Serebrennikov himself would have decided a lot differently. But at the same time, it is unprecedentedly surprising how well he hits the target meaningfully, he hits some points almost more painfully than in 2004! I didn’t notice it last time on second act, but two more years have passed since then. Natalya Tenyakova in her grandiose role (of her outstanding works of recent years, this last one remained when, after the death of Oleg Tabakov, Bogomolov's "The Year When I Was Not Born" and "Jubilee of the Jeweler" left the repertoire) is amazing, although, of course, we are all not getting younger - but it's very cool that Molochnikov (you can evaluate him in different ways as an actor, I'm not talking about directorial experiences, but what cannot be taken away from him - vital energy) gives the performance as a whole, and especially Tenyakova, performing with him in a duet , young forces. And of course, the most important, key image in Serebrennikov's production is Ulita; she was played again by Evgenia Dobrovolskaya (Yanina Kolesnichenko at a certain period was also beautiful in this role), and the housekeeper written by Ostrovsky by the "comic old woman" grows here from an ageless and genderless insect at the first impression of the creature through quite wow, with claims a woman, up to the figure of a generalized, sinister, all-knowing moira: she puts on a shelf a "Hamlet" skull from Neschastlivtsev's traveling props, she, as a curtain, throws a funeral wreath at the feet of the "newlywed" Gurmyzhskaya-Tenyakova.

I have already managed to forget for more than ten years how incendiary and at the same time piercing in the first act Tenyakova-Gurmyzhskaya and Dobrovolskaya-Ulita dance something like a "paso doble", and their joint "dance of death", inspired, but in all meaning "hilarious", sets the tone for the performance as a whole. In general, "Les" is like no other performance in Serebrennikov's career (I believe that even his ardent fans cannot boast of having seen all of his Moscow works, but I have seen everything - except for "The Demon" with Menshikov, but including one-time festival projects , musical and plastic performances) contains all that is best, important, typical, which is characteristic of Sererennikov's method, style and, if you like, "aesthetic ideology".

Today for me "Les", oddly enough, is over the edge "traditional Russian psychological theater", and after Bogomolov, even the relatively old "Wolves and Sheep" by the same Ostrovsky (reviewed the other day), especially "Three Sisters" or " Husbands and Wives ", too" fat ", too theatrical" play "of brilliant, magnificent, unique, but still the same school of actors. Although, in hindsight, it is doubly fascinating to observe how another Serebrennikov sprouts through everyday comedy, poster satire and a moral-descriptive essay in The Forest. And not only the one that, after a series of brilliant performances at the Moscow Art Theater ("Golovlevs", "Kizhe"), strikes into didactics, into dogma, wants to "put" some "ideas" into the head "of his" flock ", and then begins to rivet" educational " propaganda materials that will make up the repertoire of the first seasons of "Gogol Center" ("a clown is not a comrade," the hero of "Forest" says prophetic words for the director), "Little tragedies" -

and especially in the unparalleled "Nureyev" -

I started talking about the same, in essence, things, just with a deeper understanding, with a personal awareness of the problems.

On the bows, Natalya Maksimovna Tenyakova made a fiery, passionate, maybe even overly emotional (not to the detriment) speech in defense of Serebrennikov, and this, of course, at the time of the premiere of the performance could not have been imagined. "Serebrennikov is a free man. Perhaps this is his most attractive quality."- Elena Yampolskaya wrote in a review of the 2004 premiere. Not so long ago.