The master and margarita belyakovich actors. Theater playbill - reviews of the play

1. Performance genre:drama about love and betrayal
2. Stage director: Valery Belyakovich.
3. Author stage-manager : Valery Belyakovich.
4. Musical arrangement : V. Belyakovich, D. Rachkovsky.

Duration : 2 hours 40 minutes including 1 intermission.

Annotation to the performance

In general, "The Master and Margarita" is not particularly readily amenable to staging. It is not so easy to bring a rather large work into the framework of the performance. The task is complicated by the tightly subtle interweaving of plot lines, and indeed the novel itself is shrouded in a mystical halo. The chief director of the theater in the South-West, Valery Belyakovich, was not afraid to stage the (not good novel) Mikhail Bulgakov. Unusual, original, brilliant. Such emotions overwhelmed the audience when a real mystical action was played out on the stage. And really well thought out by director Valery Belyakovich mise-en-scenes, many dances, luxurious costumes, laser shows, the skill of the lighting designer and the brilliant acting of the actors pushed the cramped blackness and made, as it seemed before, the impossible : Bulgakov's most famous novel finally came to life on stage. Moreover, the theatrical version, believe me, turned out to be no less impressive and magically enchanting than the original itself. With the help of the staging and acting of the actors, the audience seemed to be transported to the old Moscow of the 30s, with all its details of a specific life, atmosphere, colors and even smell. Live play of actors, magic sounds of music, literally attract and fascinate.

The solution to the problem of mysticism on stage looks amazing (how to put on the stage Bulgakov's movements in time, epiphanies, reincarnation of the jester Behemoth into a cat and vice versa ?!). The performance takes place in a madhouse named after Lenin. Woland, witches, cats, gayers, historical figures - all this is nonsense, fever, the fruit of the sick imagination of the proletarian poet Ivan Bezdomny. And reality is the slogan poems of a bad poet, however, they are sung by the red-haired half-naked Gella. In contrast to his schizophrenia, Ivan Bezdomny puts up a poet's certificate, which, as we know, “they don’t give it to just anyone”. Just like the plot, the scenography is also laconic. A huge signboard "Madhouse named after Lenin", the profile of the leader, whose shadow is Satan, posters "For the first time in the USSR! Professor Woland! A session of black magic! For crazy people only! Entrance fees: mind, potbelly stove, garden bench and messire's throne - there is nothing else on stage. “The director Valery Belyakovich compensates for such asceticism in the design of the stage with light effects - laser beams illuminate either the profile of Margarita, the towers of Yershalaim and the cross with the crucified Ha-Notsri, or the burning sheets of the Master's novel. Any actor dreams of playing in this production, but it is far from possible. everyone. What is the reason for this is not clear. Roofing felts because of the complexity of the plot, roofing felts because of the mysticism of which the novel is shrouded, but one thing is certain, the most important thing is to play sincerely. the most experienced actors, actors who truly believe that love is actually stronger than death.

The play "The Master and Margarita" is already 10 years old. And he has long earned the reputation of the most popular performance in the CIS countries and abroad, breaking all known records of audience demand and box office receipts.

The Master and Margarita is a true masterpiece of twenty-first century theater art.

Cast:

“I see that the number of the audience in the hall today commands respect,” one of the first phrases from the play “The Master and Margarita” of the Moscow Independent Theater confirmed the keen interest of the Ozyorsk public in the production. On September 25, the performance gathered the full hall of the Mayak Palace of Culture.

Moscow artists presented individual pages of the immortal work of Mikhail Bulgakov. Director Valery Belyakovich offered his own interpretation of the novel. Some of the audience saw the depth of the narration and respect for the text, some did not accept the production.

Another directorial move could not go unnoticed - the minimization of the number of actors involved in the performance. Almost every actor played two or three roles. We will not retell the content of the play. We also dare not take the role of critics. We will publish only the contradictory opinions of the spectators of the lake, who attended the performance of the Moscow Independent Theater.

“I am familiar with the work. I like the acting. I watched Maria Berseneva - absolutely two different women, what I see in the series and her performance of the role of Margarita does not agree. "

"I liked the book more ... Expectations were not met at all."

“Wonderful game, unusual interpretation! The actors play great! "

“I liked the performance. When I bought the tickets, I thought about how the three storylines would be connected on one stage and in one production. The theater did it ”.

“The play managed to make me ask again the eternal questions of the novel: what is good and what is evil? But the acting is rather weak. Yes, and the format of the show was sometimes boring. "

Undoubtedly, the mystical work of Mikhail Bulgakov is very reluctant to be staged, at all times attempts to stage and film "The Master and Margarita" were criticized and received enthusiastic responses. Recall that the Ozersk theater "Our House" was ahead of everyone almost twenty years ago - in 1988 the production of the theater "The Story of the Master and Margarita" became a premiere in the Russian theater space and received many positive reviews from spectators and theater critics.

N. Kolyanova, A. Lyoshkin

I looked at "The Master and Margarita" in an updated version. I haven't seen the performance for a long time. Let me remind you that it is a kind of visiting card for the Theater in the South-West. This is a box-office production that brings a lot of income. It has always been this way, whether it is now - I don’t know.

I got the feeling that with the new cast, this is not exactly a "southwestern" performance. The actors play new, and it seems even in a new way, but the filling is old. Personally, I did not have enough jokes in the variety show. They seemed obsolete and somewhat inappropriate. Cards of Azazello, Bassoon, Gella's chest (this time the decor in the form of shiny stars pasted on top was added to it) and a trick with Varenukha. Behemoth the cat hits him on the back, a ping-pong ball appears from behind Varenukha's mouth. And so several times until the secret of focus is revealed. Azazello will help the Behemoth in this. The cat will simply show the audience a ball held in his hand. Previously, all this, at first glance, a simple "miracle", caused emotions and laughter. Today it feels like actors are putting on costumes that seem to be in size but don't fit. All these jokes, these are not their jokes. They are strangers. They were not born with them. The actors just adopted them and that's it. Playing in persons that have nothing to do with that "Master". Neither Bassoon, nor Homeless, nor Pilate, nor Hella. Although the work of the actors deserves special attention. In this long-familiar performance, they will soon play their story. "Southwest" suit has become a little tight.

Karina Dymont - Margarita. She had been cultivating this role in herself for a long time and physically matured to it. In principle, she could always play it. Then she was a wonderful Gella. There was history in her image. It seemed that once upon a time, she was a good girl with whom something terrible happened. “She has her own story,” Woland will say about Gella. She is not just a servant. This is not her calling. Rather, the will of fate. It so happened that Messire took her into his family. And behind her character, you understand that anyhow who he will not take. Well, about Margaret ... Unstable, hysterical with tear-stained eyes and a crooked mouth that spreads across her face, ready to scream at any moment. But in her, exhausted, temperament also pulsates, fire burns - first despair, grief, then revenge. And in her misery, she is so beautiful, in her anger, anger. The eyes are burning, sparks are about to fall from them, and demonic laughter will be heard in the darkness. This is only later, when she becomes a witch. She is so interesting in this image that when she finds "calmness" together with the Master, she even becomes kind of uninteresting, insipid, peaceful. I have a weird déjà vu. As if Margarita performed by Dymont is Gella's once normal life. But “from grief and tears,” her ending is completely different.

Woland - Oleg Leushin. Compared to what I saw, this is a completely different Woland. Less flaunts of itself, less fuss. She, however, remained in the ball scene - the main stage of the performance. Woland, the lord of the dark world, will not fuss. He is calm and wise. He doesn't have to shout to prove something. He knows he is right. "You are stupid," - pronounces the verdict on the angel. The statement is contradictory and subjective, but even an angel does not dare to argue with him. Woland is also calm because he is not surprised at anything. He saw everything, knows everything. Well, in general, you can still talk about this for a long time. This feature appeared in the game of Oleg Leushin.

Fussy Bassoon - Alexander Shatokhin. More precisely, this Bassoon is not very fussy, unlike the past, performed by Oleg Leushin. This one is calmer and ... intelligent. An insinuating voice, - the actor's timbre is excellent - refined gestures, facial expressions - and a demon with sad eyes is ready. He is not a wit, but rather a kind-hearted man who is forced to be ironic ... Fagot-Shatokhin is completely devoid of any dark side of evil. By the way, such a feature was in the image of Woland Viktor Avilov. He is impolite and a good performer, for which the Messire appreciates him. This is the brightest side of evil. The bassoon turned out to be interesting in Shatokhin's performance also because it is thanks to this character trait that the character creates a contrast to his retinue and it turns out to be not so unambiguously demonic. Perhaps this is the kindest inhabitant of the world of darkness. In general, with this role, Alexander Shatokhin can only be congratulated.

"The Master and Margarita" slowly but surely turns into living history. Whether it is necessary to prevent this, the theater itself will decide. But one thing is clear, this cast will still shoot and will definitely make their calling card on stage. There is everything for this!

The play "The Master and Margarita" directed by Valery Belyakovich turned out to be extravagant and ambiguous. On the one hand, the production director managed to capture and convey the feeling of chaos that reigned in the novel and associated with the appearance of Woland in Moscow. On the other hand, the deliberate hypertrophy of all emotions, events and the characters themselves is rather tedious for the viewer and does not fully penetrate the essence of what is happening.

From the very first minutes, the viewer is warned that the production will touch on only some of the pages of the legendary novel. Because it seems impossible to transfer every detail of it to the stage. Well, this approach is probably correct, although it cuts back on the original plot.

Frankly speaking, only two storylines remained full on the stage. The line of mysticism and the line of love. The most understandable and pleasant to the public. Political and religious motives were touched upon only in passing, but a fair amount of jokes were added. Moreover jokes of modern, not Bulgakov's. This state of affairs, however, does not bother the public at all. The audience repeatedly explodes with applause after another successful joke of Behemoth - Professor Stravinsky - Berlioz.

By the way, this is one of the features of the performance. Each actor plays two or three roles in it at the same time. Everyone except Woland. He is one at all times, and there is no need for him to try on other people's masks. This is emphasized by the fact that behind what is happening black magic consultant watches from his carved chair at the back of the stage. His presence is felt in every action, in every remark and every gesture.

Another feature characteristic of this production is its extraordinary musicality.... At times, everything that happened on the stage resembled a musical, and this, perhaps, was one of the most successful directorial finds. So, for example, the Ball of Satan is held to the fiery rhythms of jazz, and the diagnosis to the poet Homeless is combined with the same clockwork charge.

In general, all the main characters of the novel are preserved and are present on the stage, but the emphasis towards some of them is clearly shifted. An undoubted advantage over other characters was given to the vampire witch Gella, played by Natalya Goncharova, who, from Woland's servant, turned either into his right hand, or into a female alter ego. Hella came out as a very colorful character, overshadowing everyone who was unlucky enough to be with her on the same stage. Another prominent representative of the dark forces was Cat hippo, and this time his eccentricity was quite consistent with the letter of the novel, and sometimes even surpassed it.

Belyakovich's performance turned out to be modern and loud... It has a lot of humor, mysticism, smoke and light. The only thing missing is the secret meaning put by Bulgakov between the lines of his novel. There is not enough intimate dialogues pronounced almost in a whisper, there is not enough mystical silence. Arriving at this performance, the viewer is drawn into a show similar to that arranged by Woland's retinue in the Variety. Everywhere there is noise, fun and it is not clear where is the truth and where is the lie. If that was the director's idea, then it was definitely a success, and the viewer, ready for such an action, was almost certainly satisfied. It was much more difficult for those who expected to see something closer to the original text of the novel and its characters. They probably had to leave the hall with mixed feelings and without satisfaction from what they saw.