Five main post-war plays and their best productions. Russian drama
Tomorrow turns 220 years since the birth Alexandra Griboedov. He is called the writer of one book, bearing in mind, of course, "Woe from Wit". And yet, he had a serious impact on Russian playwriths. Let's remember about him and other Russian playwrights. About writers who think of characters and dialogues.
Alexander Griboedov
Although Griboedov is called the author of one book, to the play "Mount from Wit" he wrote a few more dramatic works. But the comedy of Moscow morals was popular. Pushkinwrote pro "Woe from Wit": "Half of the poems should be included in the proverb." So it turned out! Thanks easy language Griboedov This play has become the most cited product of Russian literature. And at least two centuries have passed, we repeat these whipped phrases: "MOUNT us the way of all the seaflings and barsky wrath, and Barsky love. "
Why was the "grief from the mind" the only famous work Griboedov? Griboedov was a Wunderkind (he graduated from Moscow University at the age of 15), a man, talented in all respects. Writing for him was not the only activity. Griboedov was a diplomat, a talented pianist and a composer. But fate disadvantaged him a short life. The writer was only 34 years old when he died during an attack on the Russian embassy in Tehran. In my opinion, he simply did not have time to create other great works.
Alexander Ostrovsky
Alexander Ostrovsky Rose in Zamoskvorechye and wrote about the nras of the Zamoskvoretsky merchants. Earlier 
this important part of society, the writers somehow were not interested. Therefore, the Ostrovsky was also called pathetic "Columbus of Zamoskvorechye."
At the same time, the author of Paphos was alien. His heroes are ordinary, pretty petty people with their weaknesses and disadvantages. In their lives, there are not great tests and misfortunes, but mainly consumer difficulties, which are the result of their own greed or pettyness. And the heroes of Ostrovsky are not prefigured, and somehow really, his psychological features are expressed in the speech of each hero.
And yet the author with strange love and tenderness belonged to his distant characters far from the ideal. However, the merchants did not feel this love and they were offended by his works. So after the publication of the comedy "His people will tear, Mercury complained to the author, the layout of the play was forbidden, and a police supervision was established for Ostrovsky. But all this did not prevent the writer to form a new concept of Russian theatrical art. Subsequently his ideas developed Stanislavsky.
Anton Chekhov
Anton Chekhov- The playwright, popular not only in Russia, but also around the world. At the beginning of the XX century Bernard Show wrote about him: "In the pleiad of great European playwrights, Chekhov's name shines as a star of the first magnitude". His plays put in European theaters, and the author is called one of the most fascinated writers all over the world. But Chekhov himself did not assume his future fame. He said 
His friendly Tatiana Shchekina-Cupernik: "I will read seven years old, seven and a half, and then forget."
However, not all contemporaries evaluated Chekhov plays to dignity. Tolstoy, for example, although it was high opinion On the stories of Chekhov, even called him "Pushkin in Prose", could not tolerate his dramatic works, which writer reported without constraint. For example, Tolstoy somehow stated Chekhov: "And after all, I can't tolerate your plays. Shakespeare wrote, and you're even worse!" Well, not the worst comparison!
Critics talked about the lack of action and stretching the plot in the Pieces of Chekhov. But this was the idea of \u200b\u200bthe author, he wanted him dramatic works Were similar to life. Chekhov wrote: "... After all, in life, it's not every minute, they are hanging, they are explained in love. And not every minute they say smart things. They eat more, they drink, do it, they say nonsense. And so that it is necessary to be visible on stage. It is necessary to create such a play where people came, went away, have dinner, talked about the weather, played the screw, but not because it is necessary to the author, but because it happens in real life. "For this realistic play, Chekhov loved Stanislavsky very much. However, the writer and the director did not always converge in the opinion of how to put this or that plays. For example, "The Cherry Orchard"Chekhov called a comedy and even farce, and on stage she became a tragedy. After the posting, the author in the hearts stated that Stanislavsky thwaped his play.
Evgeny Schwartz
In many plays Evgeny Schwartz Appeals to creativity Hansa-Christian Andersen And even makes him a peculiar hero of his works. Schwartz, like the famous Danish storyteller, writes fantastic magic stories. But behind the fabulous shell his plays hide serious problems. Because of this, his work is often forbidden to censorship.
Particularly indicative in this regard is the play "The Dragon". Beginning as in any ordinary fairy tale: Dragon lives in the city, who every year chooses a girl in his wife (a few days later she dies in his cave from horror and disgust), and there is a glorious Knight of Lancelot, who promises to win the mound. Oddly enough, the residents do not support him - they are somehow familiar with the dragon and calm. And when the Dragon is defeated, his place immediately occupies a former burgomaster, which makes no less "Dragon" orders.
Dragon here - not mythical creature, and the allegory of power. How many "dragons" replaced each other over the world history! Yes, and in the quiet residents of the town also lives "Dragon", because they their indifferent obedience themselves call upon themselves new tyrants.
Gregory Gorin
Gregory Gorin I was looking for and found sources of inspiration in the whole world literature. He easily replayed the plots of classics. The writer saw the death of Herostrata, followed the adventures of Tila, lived in the house that Swift built, and knew what happened after the death of Romeo and Juliet. Does the joke add Shakespeare? And Gorin was not afraid and created wonderful story Love between representatives of Monttech and Kapulent, which began ... at Romeo's funeral and Juliet.
Gorin reminds me of his own hero - Baron Münhgausen from the movie Mark Zakharov. He also travels over time, communicates with the classics and is not hesitated to argue with them.
His genre is tragicomedy. No matter how ridiculous to listen to the witty dialogs of heroes ( great amount Gorinsky phrases diverged by quotes), the end of the play almost always read with tears in the eyes.
Russian dramaturgy has passed a difficult and long path of development. The first plays appear in late XVII - early XVIII c., They rely on vintage rites and playing, oral folk drama. To the most famous and popular works folk Drama Cars of Maximilian, "Boat", which reflects the campaigns of Stepan Razin, Ermak; Folk drama-farce "About Verovad-Boyarin"; puppet comedy About parsley. At this time, the so-called school drama occurs in Ukraine and in Belarus. Borrowing plots from church rituals, she argued the idea of \u200b\u200bcentralized monarchy during that period.
The scene from the play "Wolves and Sheep" A. N. Ostrovsky in the Moscow Drama Theater named after K. S. Stanislavsky.
The scene from the play "Auditor" N. V. Gogol at the Moscow Theater of Satira. 1985
The new stage in the development of Russian dramaturgy falls on the 30-40th. XVIII century, the era of the domination of classicism. The largest representatives of this destination were A. P. Sumarokov (1717-1777) and M. V. Lomonosov (1711-1765). The drama of classicism preached high civil ideals. Love for the Motherland, the ministry of the debt Heroes of the classic tragedy was tightened above all. In the tragedies of Sumarok "Heores", "Saving and Trumor" and others sounded the topic of chirain and despotism. Russian dramatic of classicism is largely based on, and in theory and in practice, western European culture. Not by chance Sumarokov, whose plays became the basis of the repertoire of the Russian theater mid XVIII c., called "Northern Racin". In addition, by refringing the defects of "lower estates", primary bribeners, the nobblers who violated their civic duty, Sumarokov made the first steps to create a satirical comedy.
The largest phenomenon in the second drama halves XVIII in. Steel Comedy D. I. Fonvizin (1745-1792) "Brigadier" and "Nepal". Educational Realism - Basis artistic method Fonvizin. In his works, he denounces not separate defects of society, but the entire state system based on serfdom. The arbitrariness of the autocratic power gave rise to the lawlessness, the greed and selling of officials, despotism, ignorance of the nobility, the disasters of the people, who was suppressed by the "burden of cruel slavery." Satira Phonvizin was evil and merciless. M. Gorky noted him great value As the founder of the "attractive realistic line" of Russian literature. According to satirical indignation, a "Yabeda" (1798) of Fonvizin can be put next to the comedies of Fonvizin, the I. Krylov, I. A. Krylov, I. Krylov (Trumf, 1800), Paul I. Traditions of Fonvizin and Capnicist found their further development In Dramaturgia, A. S. Griboyedov, N. V. Gogol, A. V. Sukhovo-Kobylin, M. E. Saltykov-Shchedrin, A. N. Ostrovsky.
First quarter XIX in. - Complex and saturated struggle of various artistic flows period in the history of the Russian theater. This is the time to overcome the canons of classicism, the emergence of new directions - sentimentalism, prematransmanism and realism. The process of democratization of the entire Russian theater begins. During napoleonic Wars and the origin of the Decembrism special meaning Acquires a heroic-patriotic topic. Love for the Fatherland, the struggle for independence - the leading themes of dramatic works V. A. Ozerov (1769-1816).
For the first time decades XIX. in. Great popularity conquers the genre of the waterway, a small secular comedy. His procureors were A. A. Shakhovskaya, N. I. Khmelnitsky, M. N. Zagoskin, A. I. Pisarev, A. S. Griboedov. In their plays written by light, alive literary language, with witty checks, there were visionary traits of modern morals and characters. These features, to a certain extent approaching waterville to household comedy, I will become defining in the work of such drama-water vowivilists, like D. T. Lensky, P. A. Karatygin, F. A. Koni and others.
The leading role in the history of Russian drama belongs to A. S. Pushkin and A. S. Griboedov. They created the first realistic dramas. Pushkin's drama, his theoretical statements justify the principles of nationality and realism in Russian drama. In the comedy "Mount from the mind" by A. S. Griboyedov, her close connection is traced with liberation movement in Russia. It realizes the struggle of two epochs - the "century of the present" and the "century of the past".
By the 30th. refers to appearance early Pieces M. Yu. Lermontov - "Spaniards", "People and Passion", " A strange man" Lermontov is the largest representative of the revolutionary and romantic drama in Russian literature. His "Masquerade" - Top romantic tragedy first halves XIX. in. The theme of the fate of a high, proud, not reconnected with the dying and hypocrisy of the mind, started by Griboedov, finds a tragic conclusion in the Lermontov drama. Pushkin's plays and Lermontov were banned for the statement of the royal censorship. In the Russian scene of the 30-40s. Drama N. V. Kuzmachnik, N. A. Polevoy, glorified the wisdom and the greatness of monarchical power. Saturated with false pathos, melodramatic effects, they long remained in the repertoire of theaters.
Difficult, contradictory was the path of L. N. Andreeva (1871-1919). In his plays "To the Stars" (1906), Sawa (1906), "King Hunger" (1908) sounds the topic of the rejection of the world of capital, but at the same time the playwright does not believe in the creative strength of the rebel people, his riot anarchich. The theme of the impotence and the doomes of a person sounds in the drama "Life of a person" (1907). Boggleless motives, protest against an unfair and cruel world penetrated philosophical drama "Anatama" (1909).
In it difficult time The crisis of the consciousness of a certain part of the Russian intelligentsia appears the plays of the bitter "Latest" (1908), "Vassas Zhelena" (first option, 1910). They confront pessimistic, falnial sentiments, talking about the doomes and degeneration of the bourgeoisie.
Russian dramaturgy throughout the path of its development was an expression of the growth of self-consciousness, the spiritual power of the people. It has become a significant phenomenon in the world theatrical culture And rightfully ranked honorable place in the world theater.
1 / Erdman / 1900-1970 / 69 / Mandate, suicide
2 / Schwartz / 1896-1958 / 61 / Ordinary miracle, Dragon, Bear
3 / Volodin / 1919-2001 / 82 / five evenings, my older sister, appointment
4 / Vampilov / 1937-1972 / 34 / Farewell in June, Elder Son, Duck hunting, Provincial jokes, last summer in Chulimsk
5 / roses / 1913-2004 / 91 / in good hour, Forever alive, ordinary story
6 / Watermelons / 1908-1986 / 78 / Tanya, Irkutsk Story, My Poor Marat, Tales of Old Arbat, Old-Fashionable Comedy
7 / Radzinsky / 1936- / 104 Pages about love, movie filmed, conversations with Socrates
8 / Zorin / 1924- / Pokrovsky Gate, Warsaw Melody, Tsarist Hunt
9 / Roshchin / 1933-2010 / 77 / Old new Year, Valentin and Valentina, Echelon
11 / Gelman / 1933- / Protocol of one meeting, Mishin Anniversary, we, the following, alone with everyone
12 / Vishnevsky / 1900-1951 / 50 / Optimistic tragedy, we are from Kronstadt.
(Entrepreneur Bulgakov and Zoshchenko. Supported Mandelstam's money in the link. Editor "Banner". Patched V. Nekrasova and Akhmatov. Later, from her)
14 / Stein / 1906-1993 / 87 / Admiral flag, Ocean
15 / Skot / 1908-1980 / 72 / Divine Comedy, Leningrad Prospect
16 / S. Mikhalkov / 1913-2009 / 96 / Balalajkin and K *, silent
17 / K. Simonov / 1915-1979 / 63 / Guy from our city. Wait for me
18 / Slavkin / 1935-2014 / 78 / Adult Daughter young man, SERSO
19 / Salin / 1920-1993 / 72 / Drummer, Air Kiss
20 / S. Aleshin / 1913-2008 / 94 / Director, everything remains people
21 / Lavreen / 1891-1959 / 67 / Rift, forty first
22 / Athenogen / 1904-1941 / 37 / Masha
Erdman. Photo from the Internet
Reviews
The mistake was embryed. "Last summer in Chulimsk" wrote A. Vampilov. It should be with such a luggage, its place must be upstairs. For him, still in what order:
Schwartz, Erdman, Rosov. Theaten: Volodin, Watermelon, Radzinsky. The point for your taste. Who in the ranking should not be places. Again, next to Safronov.
Sincerely, Paul.
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Play
Alexander Volodin, 1958
About what: Once in Leningrad on the occasion of a business trip, Ilyin suddenly decides to go to the apartment where seventeen years old on the back, leaving the front, left a favorite girl, and - about a miracle! - His Tamara still lives in a room above Apteh. Women did not get married: the student's nephew, to whom she replaces the mother, and his shackle girlfriend - that's all her family. Dogging through the fear of incomprehension, insincerity, tapping and reconciliation, two adults in the end realize that happiness is still possible - "Whatever would be!".
Why should I read: Stretching for five evenings Meeting Ilina and Tamara - this is not only a story about the late unwanted love masters of the "Red Triangle" factory and Zagar Comma - Head of Garage. North settlement Ust-Omul, but the ability to bring real, and not mythical Soviet people to the scene: smart and conscientious, with broken fate.
Perhaps the most piercing of Volodin drama, this play is filled with a handful humor and high lyrics. Her heroes forever do something: under speech clichés - "I have an interesting job, responsible, feel yourself necessary people"Fights a whole layer of drunk deep inside the heavy issues related to the eternal fear, in which a person is forced to live, as if concluded in a huge camp called" Motherland ".
Next to the adult heroes live and breathe young lovers: at first Katya and Glory look "nonpougalian", but they instinctively feel that fear that the souls of Tamara and Ilyina eats. So the uncertainty in the very possibility of happiness in the country of the "winning socialism" is gradually transmitted to the next generation.
Staging
Large drama Theater
Director Georgy Tovstonogov, 1959
Zinaida Charcot as Tamara and Efim Copelian as Ilyina in the play "Five evenings". 1959 Big Drama Theater named after G. Tovstonogov You can imagine a little shock, which was for the audience this performance, thanks to the radiation of 1959. The audience reacts here very violently - laughs, worried, subsides. Reviewers wrote about the production of Tovsto-legs: "Time today - the end of the 50s - detected itself with astounding accuracy. Almost all the heroes seemed to be scene from Leningrad streets. They were dressed in exactly how the viewers looked at them. " Characters who left the depth of the scene on platforms with slurry troubled rooms, played right under the nose at the first row. This is a demand-shaft of intonation deviations, absolute hearing. The voice of Tovstonogov, who uttered the remarks, created a special chamber of the Atmosphere (sorry that he reads the text from the author in the radio actacle).
Internal conflict The performance was a contradiction between imposed by Soviet stereotypes and natural human nature. Tamara, in the performance of Zinaida, Shkarko looked out because of the mask of the Soviet community, before resetting it - and to become her own. On radio write it is clear with what internal power And the amazing wealth of Nyuan owls, Shako played her Tamaru - touching, gentle, unprotected, sacrificial. Ilyin (His Efim Copelian played), spent 17 years somewhere in the north, from the very beginning he was internally much more free, "but he didn't immediately manage to tell his beloved woman to the truth, gave himself for the head of the engineer. In a radio spectacle in the game, a lot of theatricality is heard today, almost pathetics, but a lot of him and pauses, silence - then you understand that the most important thing happens to his hero at these moments.
"In search of joy"
Play
Victor Rosov, 1957
About what: In the Moscow apartment of Claudia Vasilyevna Savina is closely and crowded: four of her grown children live here and there is a furniture that the Lenoch-ka, the wife of the Elder Son of Fedi, is once a talented my-scholar son, now a lucky careerist "from science " Covered with rags and newspapers waiting for a quick move to new apartment newlyweds, cabinets, puzzled buffets, couches and chairs are in the family of an apple of discord: the mother calls the eldest son "little motion", and his younger brother, Oleg's high school student, Rubit "Lenochka" Furniture Sable Dieddy Father - Hero of War. Attempts to explain only worsen the situation, and eventually Fedor and his wife leave native homeThe remaining children assure Claudia Vasilyevna that they chose another life Path: "Do not be afraid for us, Mom!"
Why should I read: This double-tailed comedy was perceived as a "trifle" of Viktor Roshov: By that time, the playwright was already known as a script writer legendary Film Mikhail Kalazovova "fly cranes."
Indeed, touching, romantic, irreconcilable in dishonesty, challenging the younger children of Claudia Vasilyevna Kolya, Tatiana and Oleg, as well as their friends and loved ones were a strong group of "the right advantage of young people", numerically superior to the circle presented in the play "Staya Raper, Careerists and mesh ". The schematic capacity of the confrontation of the world of needs and the world of ideals was not particularly masked by the author.
Outstanding proved the main character - 15-year-old dreamer and poet Oleg Savin: His energy, internal freedom And a sense of self-esteem contacted the hopes of thawed, with dreams of a new generation of people who makes all types of social slavery (this generation of uncompromising romantics and began to call - "Rosovsky boys").
Staging
Central Children's Theater
Director Anatoly Efros, 1957
Margarita Kupriyanov in the role of Lenochka and Gennady Peaks in the role of Fedor in the play "In Search of Joy." 1957 RAMT. The most famous scene of this play is the one in which Oleg Savin rubs the Father's Father's Furniture. So it was in the performance of the Theater Studio "Contemporannik", released in 1957, and from the film Anatoly Efros and George Natanson "Noisy Day" (1961) it was exactly that it remained in memory - maybe, because in both productions of Oleg played Young and gusty Oleg Tabakov. However, the first performance on this play was not out of the "contemporary", but in the central children's Theaterand in it famous episode With a checker and died fish, the jar with whom the Lenochka threw out the window was though important, but still one of many.
The main thing in the performance of Anatoly Epros was a sense of polyphonic, continuity, fluidity of life. The director insisted on the significance of each voice of this multi-depleted story - and immediately introduced the viewer into the house-made house built by the artist Mikhail Kurilko, where the exact details indicated the life of a large friendly family. Not the glory of the meshness, but the opposition of living and dead, poetry and prose (as under-methyl criticism Vladimir Sappak and Vera Shitov) - There was an essence of Epros. Alive was not only Oleg in the performance of Konstantin Ustyugova - a gentle boy with a high excited voice - but also Mom Valentina Speranste, who decided for a serious conversation with her son and softening the into-nation forced sharpness. Very real and this Fyodor himself, Gennady Pecchikov, despite everything is very loving his pragmatic wife, and another in love - Gennady Alexei Shmakov, and classmates girls who came to visit Oleg. All this is perfectly audible in the performance of the performance, made in 1957. Listen to how Oleg pronounces key phrase Pieces: "The main thing is to be a lot in my head and in the shower." No didactics, quiet and endured, rather for yourself.
"My poor Marat"
Play
Alexey Arbuzov, 1967
About what: I lived, there was a face, Marat loved, was loved by him, and Leonidik loved her; Both guys went to war, both will be right: Marat - Hero Soviet Union, And Leonidik without a hand, and the Lika gave her hand and the heart of the "poor Leoni-Dick". The second name of the work is "Do not be afraid to be happy", in 1967 by London critics it was called the play of the year. This melodrama is a stretched story of the meetings and separation of the three adults from the episode to the episode of heroes, connected once a war and blockade in a cold and hungry Leningrad.
Why should I read: Three lives, three of the fate of the Soviet idealists of the Soviet idealists trying to build life according to the propaganda legend. Of all the "Soviet fairy tales", Alexey Arbuzov, where the heroes were definitely assumed with love for her labor feats, "My poor Marat" is the saddest fairy tale.
Soviet myth "Live for others" is justified for characters - still teenagers losses and exploits of war, and Replica Leonidika: "Never change our winter forty second ... Yes?" - becomes their life credo. However, "days go", and the life "for others" and professional career (Marat "Build Bridges") Happiness does not bring. Lika manages medicine as a "non-breed-born head office", and Leonidik enjoys the morals by the collection of STI-HOV, published by the circulation of five thousand copies. The sacrifice is wrapped with metaphysical longing. In the final of the play, the 35-year-old Marat Provosno-claimed a change of Vlekh: "Hundreds of thousands died for us to be unusable, obsessed, happy. And we - I, you, Leonidik? .. "
Interestable love is equal here to strangled individuality, and personal values \u200b\u200bare approved by all the progress of the play, which makes it a unique Japle of Soviet dramaturgy.
Staging
Director Anatoly Efros, 1965
Olga Yakovleva in the role of the face and lion round in the role of Leonidik in the play "My Poor Marat". 1965 year Alexander Gladstein / Ria "News" This performance reviewers called "scenic research", "The-traly laboratory", where the feelings of the heroes of the play were studied. "On the stage of Labo-editorially, purely, accurately and concentrate," wrote the critic Irina Uvarov. Artists Nikolai Sosyov and Valentina Lalevich created for the performance of the back: they seriously looked at the audience to the audience, three Persians, looked as if they were already knowing than everything would end. In 1971, Efros removed the televersion of this statement, with the same actors: Olga Yakov-Leva, Alexander Zbruyev - Marat and Lv Round - Leoni-Witch. The theme of the scrupulous study of characters and feelings here is still effortlessly: television made it possible to see the eyes of actors, gave the effect of the audience-presence with close communication of these three.
It was possible to say that Marat, Lika and Leonidik at Epros were obsessed with the idea of \u200b\u200bmilking until the truth. Not in the global sense - they wanted to hear and understand each other as accurately as possible. This was especially noticeable on the face - Yakovleva. The actress existed as if two plans of the game: the first - where her heroine looked soft, mild, childly, and the second - the talked, barely interlocutor of the face will turn away: at that moment a serious, attentive, looking at the view of a mature woman was dug into it. "All valid life There is a meeting, "Martin Bubeber philosopher wrote in the book" I and you ". According to his thought, the main thing in life is the word - "You" - you can say a person just with all his being, any other attitude turns it into an object, from "You" - in "it". Throughout the performance of Epros, these three spoke to another "you" with all my creature, most of all redeeming the unique personality of each other. That was high voltage Their relationship, which is impossible today, cannot be captivated and not to empathize.
"Duck hunting"
Play
Alexander Vampilov, 1967
About what: Waking up in a typical Soviet apartment with heavy furious morning, the hero receives a mourning wreath as a gift from friends and colleagues. Trying to solve the meaning of the draw, Viktor Zilov restores the picture in memory last month: party housewarge, wife's departure, scandal at work and, finally, yesterday's drink in the cafe "Forget-me-not, where he insulted his young Litua, his boss, his colleagues best friend - Waiter in Dima. Deciding and indeed to reduce the scores with an adult life, the hero calls acquaintances, inviting them to own acknowledgedBut soon changes the decision and departs with Dima to the village - on duck hunt, which all this time dreamed of all this time.
Why should I read: Viktor Zilov, connecting the features of the reserved scoundrel and infinitely at a vigorous man, someone may seem like Soviet reincarnation of Lermontov Pechorin: "The portrait made up of the vices of all our generation in full development." Appeared at the beginning of the era of stagnation smart, breeding and forever drunk ITEER ITR - Engineering and technical worker. With an energy worthy of the best priority, consistently saved himself from family, service, love and friendly bonds. The final refusal of Zilova from self-cleaning had for the Council Drama symbolic meaning: This hero gave rise to a whole Pleiad of the sub-raid - unnecessary people: Drunkard, who was and ashamed, and disgusting in the Soviet Society, - drunkenness in drama was perceived as a form of social protest.
The Creator Zilova, Alexander Vampilov, drowned in Baikal in August 1972 - in the flourishing of creative forces, leaving the world one not too weighty the fact of dramaturgy and prose; Today, which has become the world classics "duck hunting", with difficulty overcoming a censored ban, broke through the Soviet scene shortly after the author's death. However, in half a century, when the Soviet is left nothing left, the play unexpectedly turned around the existential drama of the man, before which the emptiness of the arranged, mature life was expressed, and in a dream about a trip to hunting, where - "You know, what silence is it? You are not there, do you understand? Not! You have not born yet. "I heard a cry of forever lost paradise.
Staging
MCAT named after Gorky
Director Oleg Efremov, 1978
The scene from the play "Duck Hunting" in Mchate named after Gorky. 1979 year Vasily Egorov / Tass Best Piese Alexander Vampilova is still considered unsolved. B blindly went to her interpretation, probably, the film Vitaly Melnikova "Vacation in September" with Oleg Dalem in the role of Zilova. The performance, supplied in Mkate Oleg Efremov, was not preserved - even in fragments. At the same time, he exactly expressed time - the most hopeless phase of stagnation.
The artist David Borovsky invented such an image for the performance: above the scene, like a cloud, a huge cellophane bag was paris, in which there were a linen pine. "Motive of canned taiga," said the Borovsky criticism of Rimma Kretic. And further: "Paul covered in KERS: in those places go to Kris and in rubber. Pine needles scattered on Kris. You know how from New Year's Eve Christmas trees on the floor. Or after mourning wreaths ... "
Zilova played Efremov. He was already fifty - and longing his hero was not a crisis of middle age, but by summing up. Anatoly Efros admired his game. "Efremov, Zilova plays fearlessly to the limit," he wrote in the "continuation of theatrical story" book. - He is out of his outstanding with all the guts. Ruthlessly. Playing in the tradition of the Great theater schoolHe does not just denounce his hero. He plays a person in general, it is still capable of understanding that he was lost, but already unable to get out. "
So who was deprived of the reflection, so this is the waiter of Dima in the execution of Alec Say Petrenko, another essential hero of the performance. A huge man, Abso-luthe-calm - calmness of the killer, he hung over the rest of Perso-pressed, like a cloud. Of course, he did not kill anyone - besides animals on the hunt, in which he shot without mishai, but could well send a person to a knockout (after looking around, if anyone). Dima is more than zilov, was the discovery of this performance: it will be a little time, and such people will become new owners of life.
"Three girls in blue"
Play
Lyudmila Petrushevskaya, 1981
About what: Under one hole in the roof, three milf - Ira, Svetlana and Tatiana - Rainly rainy summer with their ever fighting boys. The unpleasurness of the country life forces women day and night to swear on the basis of life. The wealthy worker that appeared fascinates Iru to another world, to the sea and the sun, she leaves a sick son on Rouques in his weak mother. However, the paradise turns around the hell, and now the woman is ready to crawl on his knees in front of the airport duty, to return to the child remaining alone.
Why should I read: The contemporaries of the "Three Girls" of the play and to this day amazing how accurately fixed in it the era of "late stagnation": the circle of domestic concerns of a counselor, his character and the type of relationship between people. However, in addition to the external photographic accuracy, it is finely affected by the inner essence of the so-called scoop.
The leading dialogue with the "Three sisters" Chekhov, Piez Petrushevskaya at first presents his "girls" as three variations on the topic of Chekhov Natasha. Like the Meshchanka Natasha in Chekhov, Ira, Svetlana and Tatiana in Petrushevskaya continuously bake about their children and lead the war for dry rooms of the semi-degraded dacha. However, children for whom the mother's scandalies are not needed for calibration. The play permeates the weak voice of the sick son of Ira Pavlik; World of boy full fabulous images, in a bizarre form of reflecting the realities of the frightening life: "And when I slept, my moon flew on the wings," the child does not hear the child in this play and no one understands. The "moment of truth" is connected with the son - when, realizing that it can lose it, from "Typical soviet man"Ira turns into a person who can" think and suffer ", from Chekhov Natasha - in Chekhov Irina, ready to sacrifice something for others.
Staging
Lenin Komsomol Theater
Director Mark Zakharov, 1985
Tatyana Peltzer and Inna Churikova in the play "Three Girls in Blue". 1986. Mikhail Strokes / Tass This play was written by Lyudmila Petrushevskaya commissioned by the main director of the Theater named after Leninsky Komsomol, Mark Zakharov: He needed the roles for Tatiana Peltzer and Inna Churikova. Censorship did not miss the performance four years - the premiere took place only in 1985; On June 5 and 6, 1988, the spectacle was removed for television. This entry and today makes a very strong impression. Scember Oleg Shaincis blocked the scene by a translucent wall, behind which the silhouettes of the branches are visible; on the foreground the table, on it a bouquet of dry flowers, and in a tin basin, licked on a stool, there is an endless wash; The squabbles were arranged around, flirting, butched-found. Everyone was ready to fit into the life of another, but not just to get out - it's thoroughly there. But this is only superficial participation: in fact, everyone has to do with each other. Bubnil his old Fedo-Roven (Peltzer), indifferent to the fact that the sick child lies behind the wall. Instantly influenced in the fit of hatred for the intelligent Irina and her son Svetlana (actress Lyudmila Porgin): "He reads! Join! " And Irina herself - Inna Churikova looked at all huge eyes and mall-chal, while there were strength.
A recognized master of scenic effects, Zakharov built several reference points in the performance, tested as ballet. One of them - when the country's summer workman Nikolai kisses Irina and, from surprise, he sends almost Clownal Kulbit. Churikova, at this moment, almost falls from the chair, falls to the shoulder of Nicholas, immediately bounces back from him and, highly throwing a coola, makes his way to the door, see, did not see the kiss of the Son.
Another scene - the tragic culmination of the performance: Irina crawls on his knees for employees of the airport, begging to put it on the plane (at home the child was left alone in the locked apartment), and hoarsely, I don't even shout out, and I don't even shout out, and I am lying: "I can not have time!" In the book "Stories from my own Life"Lyudmila Petrushevskaya recalls how once on the play at this moment, young spectator jumped out of the chair and began to tear her hair. Look at it really very scary.
4 Chose
Tomorrow turns 220 years since the birth Alexandra Griboedov. He is called the writer of one book, bearing in mind, of course, "Woe from Wit". And yet, he had a serious impact on Russian playwriths. Let's remember about him and other Russian playwrights. About writers who think of characters and dialogues.
Alexander Griboedov
Although Griboyedov is called the author of one book, to the play "Mount from Wit" he wrote a few more dramatic works. 
But the comedy of Moscow morals was popular. Pushkinwrote pro "Woe from Wit": "Half of the poems should be included in the proverb." So it turned out! Thanks to the light language Griboyedov, this play has become the most cited product of Russian literature. And at least two centuries have passed, we repeat these whipped phrases: "MOUNT us the way of all the seafood and the Barsky anger, and the Bar Love."
Why did the "grief from the mind" became the only famous piece of Griboedov? Griboedov was a Wunderkind (he graduated from Moscow University at the age of 15), a man, talented in all respects. Writing for him was not the only activity. Griboedov was a diplomat, a talented pianist and a composer. But fate disadvantaged him a short life. The writer was only 34 years old when he died during an attack on the Russian embassy in Tehran. In my opinion, he simply did not have time to create other great works.
Alexander Ostrovsky
Alexander Ostrovsky Rose in Zamoskvorechye and wrote about the nras of the Zamoskvoretsky merchants. Earlier 
this important part of society, the writers somehow were not interested. Therefore, the Ostrovsky was also called pathetic "Columbus of Zamoskvorechye."
At the same time, the author of Paphos was alien. His heroes are ordinary, pretty petty people with their weaknesses and disadvantages. In their lives, there are not great tests and misfortunes, but mainly consumer difficulties, which are the result of their own greed or pettyness. And the heroes of Ostrovsky are not prefigured, and somehow really, his psychological features are expressed in the speech of each hero.
And yet the author with strange love and tenderness belonged to his distant characters far from the ideal. However, the merchants did not feel this love and they were offended by his works. So after the publication of the comedy "His people will tear, Mercury complained to the author, the layout of the play was forbidden, and a police supervision was established for Ostrovsky. But all this did not prevent the writer to form a new concept of Russian theatrical art. Subsequently his ideas developed Stanislavsky.
Anton Chekhov
Anton Chekhov- The playwright, popular not only in Russia, but also around the world. At the beginning of the XX century Bernard Show wrote about him: "In the pleiad of great European playwrights, Chekhov's name shines as a star of the first magnitude". His plays put in European theaters, and the author is called one of the most fascinated writers all over the world. But Chekhov himself did not assume his future fame. He said 
His friendly Tatiana Shchekina-Cupernik: "I will read seven years old, seven and a half, and then forget."
However, not all contemporaries evaluated Chekhov plays to dignity. Tolstoy, for example, although there was a high opinion about the stories of Chekhov, even called him "Pushkin in Prose", could not tolerate his dramatic works, which writer reported without constraint. For example, Tolstoy somehow stated Chekhov: "And after all, I can't tolerate your plays. Shakespeare wrote, and you're even worse!" Well, not the worst comparison!
Critics talked about the lack of action and stretching the plot in the Pieces of Chekhov. But this was the author's idea, he wanted his dramatic works to be like a living. Chekhov wrote: "... After all, in life, it's not every minute, they are hanging, they are explained in love. And not every minute they say smart things. They eat more, they drink, do it, they say nonsense. And so that it is necessary to be visible on stage. It is necessary to create such a play where people came, went away, have dinner, talked about the weather, played the screw, but not because it is necessary to the author, but because it happens in real life. "For this realistic play, Chekhov loved Stanislavsky very much. However, the writer and the director did not always converge in the opinion of how to put this or that plays. For example, "The Cherry Orchard"Chekhov called a comedy and even farce, and on stage she became a tragedy. After the posting, the author in the hearts stated that Stanislavsky thwaped his play.
Evgeny Schwartz
In many plays Evgeny Schwartz Appeals to creativity Hansa-Christian Andersen And even makes him a peculiar hero of his works. Schwartz, like the famous Danish storyteller, writes fantastic magic stories. But behind the fairy-tale shell, his plays hide serious problems. Because of this, his work is often forbidden to censorship.
Particularly indicative in this regard is the play "The Dragon". Beginning as in any ordinary fairy tale: Dragon lives in the city, who every year chooses a girl in his wife (a few days later she dies in his cave from horror and disgust), and there is a glorious Knight of Lancelot, who promises to defeat the mound. Oddly enough, the residents do not support him - they are somehow familiar with the dragon and calm. And when the Dragon is defeated, his place immediately occupies a former burgomaster, which makes no less "Dragon" orders.
The dragon here is not a mythical creature, but the allegory of power. How many "dragons" replaced each other over the world history! Yes, and in the quiet residents of the town also lives "Dragon", because they their indifferent obedience themselves call upon themselves new tyrants.
Gregory Gorin
Gregory Gorin I was looking for and found sources of inspiration in the whole world literature. He easily replayed the plots of classics. The writer saw the death of Herostrata, followed the adventures of Tila, lived in the house that Swift built, and knew what happened after the death of Romeo and Juliet. Does the joke add Shakespeare? A Gorin was not afraid and created a wonderful history of love between representatives of the Monttec and Capulets, which began ... at Romeo's funeral and Juliet.
Gorin reminds me of his own hero - Baron Münhhausen from the movie Mark Zakharov. He also travels over time, communicates with the classics and is not hesitated to argue with them.
His genre is tragicomedy. No matter how ridiculously listen to the witty dialogues of the heroes (a huge number of Gorinsky phrases diverged by quotations), the end of the play almost always read with tears in the eyes.
And what are your favorite playwrights?