The play of the Polish writer, the artist and philosopher, the forefather of the theater of Absurd, Stanislav Vitkevich "Mamuly" for the first time introduced on the Moscow scene.

Mamulya Stanislav Vitkevich is a family drama in the grotesque mirror and a black humor of metaphysical scales. Yanina and her son Leon live in contradictory Union, where it turns out to be impossible to distinguish self-sacrifice and slavery, a vampire bite from a kiss, love from pride; And in terms of philosophical and cultural - utopia from anti-wasteopia, revival from degeneration. Janin depletes the last forces for the sake of the sage - seeker of philosophical keys from the door of the future. However, how to achieve the integrity of the idea and its author? Will ever the correspondence between the scale of the thought and scale of the human person? Createness of creation will not be wrapped by a cycle of destruction? To find the answer and seek drama Vitkevich.

"Vitkevich was infected with idea to penetrate the secret of being. In the modern world, he was sharply felt "the crack of being", through which metaphysics leaves. "

- Elena Mind, director director.

In the "School of Dramatic Art" play Polish Avangard ( Theater, 01/06/2017).

Mother. School of dramatic art. Press about the play

Theater, January 6, 2017

Natalia Shainyan

Entertaining eschatology

In the "School of Dramatic Art" play Polish avant-garde

Mamulya is a new play on the play of Stanislav Vitkevich "Mother", delivered in the sty. Directed by Elena Nezhina appealed to the work, which for some reason the directions bypass their attention.

The author, who called himself the prikati - the Polish avant-garde with aristocratic education, talents to painting and literature, surviving the suicide of the bride, the trenches of the First World War, the October coup in Petrograd, experimented with drugs, Eros, Word, Reality, and attempts to go beyond her, who committed suicide With the Soviet invidence in Poland. Forgotten and forbidden, who did not coincide with his time and incredibly his heard, who determined the search in the Polish art of the next decades, this person, to whom the completed definitions, with difficulty, was with difficulty, was a hoax and a provocateur who fled to the order as the plague. According to Vitkevich, the theater is not what is performed on the stage, but what happens at the same time in the soul of the viewer.

The artist-director Dmitry Razumov put a long white table along the backdrop, which is not important - wedding or memorial, no matter, no one will eat at the table. In front of him, on the side - the mortal bed, the magnificently cleaned by the machines of colored wool. The dead man - a mannequin, drowning in them, as in the colors, "where the table was dodgers, there is a coffin" - the situation is incarnated literally. Over this trianna is spinning a mirror club ball. The central tablet of the scene occupies a diamond brilliant podium, all in blinking light bulbs - there and go out, banging, the characters one by one.

Here he sparkles by the Broccolo Survey and Crazy Eye Leon - Handsome, Eotoman, Drug Addict and Vampire - It's about the way he will certify. The main events in his life - the death of Mamuli and a meeting with cocaine. Mamuly appears next - buried, in a luxurious outfit, she is not hurt by his not quite a living position and participates in action in the soling party - after all, our dead never go to truly, they continue to live and communicate with us in our consciousness. The action from the very beginning unfolds in the presence of death, and this Memento Mori is the most square and pagiously declares itself in all subsequent moments - love, buzz, rage, ecstasy, hopelessness.

However, the clarity of consciousness here is just not and speech, as well as about the clear boundaries between sleep and anew, delirium and reason, reality and phantasmagoria. All alogically, shifted in this world, looking like a cafe-chantant - their numbers in the queue performed and the impressive dead man Papula - an old senor with a huge broken wing, and more than a living sarcastic servant Dorota, and the young beauty of Zosya, the wife of Leon, and his Lucina's exalted lover, and a couple of Zosi's mannery lovers, and even the director of the theater, who disguised the woman, and this is not all strange in the overall marker. For the bright and exquisite beauty of the outfit, I want to thank the artist Vadim Andreeva separately.

The viewer is chaining before being worn in his eyes, after attempts to find the logic in what is happening, it is surrendered to the mercy of these vampires, the ball ruling here, and with sympathy listens to their verses of Russian poets of the Silver Age - this age understood both in the breas, and in cocaine, And in despair. The very fascinarian here turns out to be the word "love" - \u200b\u200bfrom private use to the place and not to the place it was completely washed out and became an annoying vignette in reasoning about such, for example, how the world was doomed or where to get a drug.

Roman Dolgushin plays his Leon with a cheerful courage dragging his piercing eschatological mood - how else can you rush on the hall, cut through the audience rows, carrying a huge, incredible complexity of a monologue about the person who dying under the hegemony of society, about the metaphysical outcomes of humanity from civilization Still. The races of periods, the dentusion of political terms and mystical jargon - all this, he fastened with full horses in the hall, as if he blows it in his madness, and looks convincingly in it, as a true crazy or dervish at the descent of the Spirit. The utopian of his ideas of his own spiritual effort of each, his apology of the personality in front of the imaginary insignificant mass is particularly shridly sounded through the prism of time, century, which divided the time for writing and performing this monologue and crushing the person all the tanks, decisions and repression.

Mamulya - Lyudmila Durbeva, looks surprisingly sensible and deceased. It is filled with strength and dignity, contrary to the thorough content of his speeches - a knitting, she barely earns the maintenance of a disturbed son, pulling out of her the latest juices as a true vampire. Her dialogues with Dotota, who lost his son in the war, sound the grotesque, stinging, cynical shootout, but do not give an answer to the most bitter question for them: what is the easier mothers - to see the Son dead or not the way? Son, hung up on the neck of the mother and who minted it in the grave - her trouble or her wines? How older is responsible for the fact that they fell to children and what they were able to cope? The actress, like the director, do not answer these questions, but give a feeling of the last presence of the mother in the life of the son, acceptance, forgiveness, consolation, stroking touch - and it is hardly more than any answer.

Zosya and Lucina embody two types of female love - predatory, carnal, greedy and shameless-innocent in their very vanity; and exalted, bass, flooding and exhausting-lyrical. The bright and temperamental Regina of Khakimov competes here for the attention of the audience with the fragile Olga Bondareva, and both are ready to break into the part of Leon, who does not want to refuse any pleasures. The nerves on the platoon in all, the feeling of the cliff and the gravestone is everything is obvious, and the only one, for which none of the miserable, smart, stupid, powerless, cynical, animal-egoist, gusty, desperately linen to each other and taking the characters - It is at least some business. All legitimate and illegal methods avoiding boredom, they remain flawlessly inaccessible. Even Mamuly does not knit - apparently, to avoid completely complete similarity with Moyra, Prying Fate.

These merry ghosts in the final learn the true dance of Makabr. Hanging in a rhythmic dance, almost rareering bones, they finally immerse the viewer, which has long lost the thread of the narration, in the like of the trance. The game and there is the most powerful drug, prikati in creativity felt the maximum intensity of being and encoded in his plays this absurd, grotesque, the fatigue world, which is mysteriously affecting the consciousness of the viewer, involving him in the experience of death, despair, fun and beauty that in any The moment is reflected by each other. The brave attempt of Elena Intugic to decipher the codes of the Polish avant-gardeist is a new interesting experience and for her, and for the shy troupe, and for the viewer.

The performance of the Mamuly will tell a very relevant story about the controversial love of Mother to the Son. The mother of a young philosopher turned out to be practically exhausted from his utopian ideas about the search for doors to the future. Therefore, in their relationships, love is combined with self-examination, self-sacrifice and slavery. But also in this story it is almost impossible to distinguish the utopia from anti-wasteopia, rebirth from degeneration. How will this story end? Will heroes be able to find conformity of thought and personality? Will the creation of destruction fail?

This setting was created by the famous play of the famous Polish philosopher, artist and writer Stanislav Vitkevich, who is one of the first ideologues of the absurd in this country. This work, full grotesque and black humor, was written in 1924. It seeks to tell us the secret of being. In addition, it is a philosophical story about the search for spirituality at the moment when the whole society turns out to be spiritually exhausted. But is it possible to find it in such difficult times? And is it the problem of one and the whole world? Answers to all these questions will be able to find anyone who wants to order tickets for the performance of Mamuly.

Despite the fact that this work has long been and widely known throughout the world, in our country it was previously not raised on the theater scene. And only this season, the metropolitan audience will be able to see the premiere of this very relevant in our time of the performance. After all, despite the fact that the play was written practically a century ago, she seems quite modern to us today. Today's society is very far from the ideal. Not only individual families suffer from this, but also the whole people. And get out of this vicious circle is very difficult. This is the task of the whole society, and at the same time, each of his representative.