Solar line center Meyerhold. Well made play

How good people understand each other? How much is the expression "speak in the same language" today is relevant? Is it possible to love in man only some part and is it considered a feeling of "love"? These and many other questions put the new original performance solar line in front of the audience. His director Viktor Ryzhakov, when creating a project, was inspired by the eponymous play of the popular Russian playwright Ivan Vyrypayev. In the center - the story of one married couple. Heroes are young and still financially dependent. But very soon, when they pay the last loan, they are awaiting long-awaited financial freedom. Viewers get acquainted with a pair on the eve of a significant day.

The action takes a segment from ten o'clock in the evening to five in the morning. During this time, the spouses are carried out an endless dialogue, in which their true attitude towards each other is revealed. The girl admits that a real revelation for her moment when she saw a sunshine strip on the body of a sleeping husband, "divided" him into two halves. From this point on, the heroine realized that one "half" her husband souls, and she hates the second. Will the spouses be able to be together after such a heavy night conversation? To penetrate family secrets, you need to hurry and buy tickets for the play Sunny line.

The excitement is equally excavating and on a free read in the Dock Theater, and in "Practice", where the effective ticket public is going, and before actively walks that the most respected people (not to mention such as I) plant at best on the folding, And even right on the floor. In the dock, it was impossible to push around at all, and it's good that I, let me be relatively comfortable for this environment, and many of the suffering simply were sitting in the hall - yes, I remember how a couple of years ago, when The old dock, in threeprudge, read "the summer wasps bite us even in November", threw out and, having stood in the corridor, was forced to leave. Now acquaintance at once with two new swarpayev's plays in a row - such a pull-out marathon - I came up with myself in advance. Interestingly, the swarpayev in Russian-speaking modern drama is nothing. Even the buckle in recent years has moved to the background, engaging in his own curious, but marginal, whereas sweeping, on the contrary, turned, or rather, deliberately made himself a successful, fashionable, "bourgeois" author, as he himself says himself Without irony, but also with sincere pride, and where it ends with one thing and the other begins - it is also difficult to determine if the border between spiritual teaching and a cynical stem is in his plays.

In the "Solar line", in my opinion, this border is still fascinated, which in the previous places, may be due to the comedy genre (more precisely, the operation of comedic moves and receptions) may be because the swelling partly wants to raise or even fears to turn into the semblance of "Guru" (although I do not exclude that he really wanted to find such a teacher's status who knows him), in any case, the "sunny line", according to the author, he really likes, and It is not written not to order as previous "unbearably long arms", but what is called, "for ourselves." According to the drama technique of the play, the "summer axes" is similar, and in general, after the "Delhi dance", Vynepayev is developing a method that most fully embodied in the "illusions", after which each next play - and the "summer wasps", and "drunk", and etc. As if constructed from the remnants of the "illusions", this perfect in the form of a transshipment of motives and ideas, from where it is possible to pull new on the string and from these threads to weave new, but more or less similar patterns.

The "sunny line" is good and visual that the pattern is here brought to the ultimate, as far as possible from the swirl, transparency, that in the author's reader is particularly clearly manifested. Two characters - again, as before, wearing the conditional European names Werner and Barbara, the conditionally Finnish surname (did not remember it from hearing), live in a conditioned Western country and represent a conditional married couple. April 24, quite soon, as follows from the context, they expire the term of loan payments, after which they will be financially independent and will be able to leave everything earned - if, of course, by this time will still be together. From ten in the evening and up to five in the morning - and throughout their conversation (in the tweet occupying about an hour) five in the morning and does not turn into six or seven, that is, the time for them has long stopped - the spouses are born and even fighting, trying to still come To a kind of "positive result," but invariably rest in the fact that they are separated by an insurmountable border - the symbolic "sunny line", which Barbara once saw on the body of the sleeping Werner and realized that he had loved one half, and his second would not tolerate. Love entirely, with both half, to abandon your own half, which cannot love another completely, none of the heroes are capable, and apparently, and does not try. But they still try to overcome the "sunny line", then closing their eyes and imagining themselves with dancing in a pair (although Barbara is not-no yes and it strives to imagine that it dances with a stranger man), then the foul half of the face As a result, they succeed, when Barbara takes on the role of a cousin of his mother, and Werner is a cousin's brother of his father, and through this, as it were, they seek themselves - and each other, get the opportunity to have a full, and not nominal "mutual understanding."

During the "discussion" after the chute on Vyrypayev, it was a pity to look, to such an extent it leads to a bewilderment that even a festival audience, which, in contrast to the "bourgeois" (for whom Pulling predominantly and works on his recognition), and without that it should be "to know everything." That is, it is obvious that in the "sunny line", as in the "Summer Ososh", there is a plan of a satirical comedy, a family drama and metaphysical parables, but all of them, including the last, parable - the same tribute of genre convention, as a melodramatic fabul, tied To family disassembly, as the European Anguity Action, in general, Ioneously said that "the play is not yet a plot", in relation to the "chairs", with which, like, for example, with "nonsense together", the new OPUS OPUPEEV in external signs is strongly echoes like the "summer wasp", say, with the "Play" Beckett. Only sweeping, wanting or not, has moved much further than the classic absurdists in comprehending the intangible, that is, in the materialization of non-existent, non-existence. And when once again a play, including such a kind of simple and "funny", as the "sunny line", allegedly "enlightened", "advanced" audience is ready to accept at best as psychoderma, at the level "ME and JO, discarding Not only invested by the author of the content, but also not focusing on the features of the form (satisfying the fact that the swirls uses the speech cliché "serial" dialogues and plot stamps of "genre" plays, not disinterested, why he does it - not "why", namely " Why, ") - then watch it sad, and listen to judgments about the tweet in a similar spirit hard.

However, in part of the sweeping and himself provokes such a dual relationship to himself, on the one hand, striving to be "understandable" to the widest possible audience, on the other, more complicated, in principle, in principle, the same design. "Sunny line" - rather an exception, because here you have swept yourself, on the contrary, it tried to "simplify" (in some sense "successful" - as a "comedy" or "melodrama", to choose from, playing the play in Antenpuriza The USSR and with not quite a halur attitude to work should come out normally), but "unbearable long arms" just continue the movement of Vyvertarev in the direction indicated by at least "Dale Delhi" and "illusions", if not earlier.

Despite the fact that "unbearably long arms" is formally "elongated on a thread" from the "illusions", written for the German theater, there are already set and, according to the author, "absolutely not understood." It must be assumed that in the author's director, the idea should become clear. But what is characteristic of all theatrical realizations of his plays of the sweeping most successful calls the "Summer OS" in the "Workshop of Fomenko". The performance is really brilliant - without reference to the fact that the swelling thinks about him, I watched the production twice and, to find only time, I would have gone:

But it is noteworthy: in the case of the "Workshop of Fomenko", Vynepayev indicates that the actors with the director Sigrid Stresty will not be immersed in certain semantic layers, did not feel or deliberately did not want to touch them, transferred the text to the game plane, with excessive, on The view of the playwright (with which it is difficult to agree) the number of directorial techniques and finds; However, at the same time, the dyeing believes that such a "gaming" theater from possible is closely selected to his drama. And probably it is no coincidence that an attempt to put the "Summer OS" in the "Practice" theater in another, more "authentic" key, did not succeed in the most - "didn't succeed," as he just said, without specifying what was broken, what difficulty having lied When working with its own opus, the playwright, with such perfection before and after embodied their plays on the stage - "Dance Delhi", ingenious "illusions", now also "unbearable long arms".

And "unbearably long arms" from the point of view of "adequacy" of the embodiment of the text - the performance perfect. It is not overloaded with "directed" in the sense, as the sweeping understands - the setting is minimalistic: four actors (Alexey Rosin, Ravshan Kurkova, Anna-Maria Sivitskaya, Alexander Alyabyev) pronounce its text to microphones. At the same time, the "hug" is extremely exquisitely and sophisticated: space, light, smoke - garland frame, changing the configuration of the rays of sofit (not any "solar lines"), finally, from the dark depth of the blue and red dots of the audio-roll indicators - What is called, "simple, but tasteful," and the performers sometimes move, do not sit in place continuously. While the construction "unbearably long hugs" externally is much more complicated than the freshest, first read publicly "solar line".

"Unbearably long arms" - four intertwined stories. Charlie and Monica met, got married, Monica wounded in the first wedding night, and after a month and a half went and took an abortion; While she was in the hospital, Charlie was having sex with his long-standing familiar Emmy; And Emmy almost immediately after Charlie met Cristifa - Czech, who flew to the United States, however, from Berlin. Through Berlin, she got into America and Emmy, she was Belyan, born in Belgrade Serbka, daughter of an Orthodox bandit, who deceased from cancer. Monica is from Poland, but many times happened in Berlin before moving over the ocean. And only Charlie is an American, but he also flies to Berlin as events (tribute to the "Customers" of the play, apparently), where they, it was with Monica, rebuild their stories, to finally spread, accepting a bubble of a blank. The same makes Emmy. Actually it is clear that the pills, as well as drugs (Monica after abortion and "betrayal" Charlie tries heroin), and even alcohol is the essence of metaphors, convention, as well as American-European entourage plays, like all abstract concepts and images, which So deftly juggles the sweeping, these "long arms" and "sunny lines", "summer wasps" and "Dance Delhi", "July" and "oxygen". Equally and "goal", "meaning", "plan", as well as mentioned in the "solar line" almost through the word "positive result", which heroes are so trying to all ways, including mordeobo. And also - aliens arising in his plays constantly. But why, in fact, immediately metaphors - aliens, let's say, really fiction, but oxygen and heroin - substances are quite real, and, even in different degrees of necessity and accessibility, commonly premises, at least not only with swarpayevic characters.

But with aliens really interesting - again, as in the "illusions" -

and in the recent film "Salvation" -

In the "unbearably long arms", each of the heroes with the "aliens" occurs. Well, that is, what does "contact" mean - simply inside the consciousness of the hero begins to sound the "voice of the universe", Monica even takes it for the speech of an unborn child, but in fact it is a "creature of another galaxy," where "perhaps complete mutual understanding." And it turns to earthlings - in this case, by four of them, related to different strength of Uzami (Charlie and Monica - Husband and wife, Emmy Belyan and Kristof - Lovers, Charlie and Emmy - too) - with a completely obvious "appeal": start live. And so without, I want to "feel alive", "to be in paradise", or, by the same, the heroine of the "Solar line" is expressed - "Become Holy". Thirst "Real Life" is experiencing, picking up the conversation of Cristifa and Monica in an airplane heading to Moscow through Berlin "Russian" Jeanne, the character "Available" (her replicas were transferred to the main characters), but also following the rest of the horror of existence in the "plastic world" .

Oddly, with striking genre and, to a lesser extent, the structural differences, the two last swindle plays (well, as the previous) are largely echoing not only by style and theme, but also on the set of those the most abstractions that the violated operates masterfully, building The detailed parallel rows of these, by and large, outside the context of the categories deprived of all the content: "God", "Paradise", "Life", "Understanding", "Holiness" - Vynepayev mean these words not more and not more real than parody -Surrealistic, alcohol-narcotic "bloody" or "black" snakes, which are seen, respectively, Charlie and Kristofu, Dolphin, with whom Emmy and Charlie communicate; "Blue dot", "impulse" - the same abstract fiction; But also drugs, and sex - fiction too. By the way, sexual actions in the "hugs" are described in a fairly detailed, but again erased, clispusted expressions, monologues and the replicas of the characters about the blowjob and the anal are not erotic and even almost irrigated. Material vocabulary - and that is not used in direct value and not for the sake of additional expression, but in the "solar line", where it (so far, in the version for the twist) is much - rather as an element of the rhythmic structure, and in "unbearably long arms" - little , and it is used to express inexpressible, describe the words that words cannot be described (like "heaven - it's always fucking"), that is, in essence, with the same purpose as all other concepts, from " The universe "," God "," impulse "and" blue point "to" heroin "," Minet "and, of course," aliens ", when moving thoughts from physiological actions to metaphysical revelations, literally AD ASTRA PER ANUM.

Who like, and I don't tired with their endless refrehensors, not in the last place because it is not as an example of any other, and especially the Orthodox "spirituality", they are scrupulously arched in shape, and in the subtext they are total self-bloods. Nevertheless, the replication of typical schemes is gradually coming. Especially in combination with the desire of Vyverpayev already mentioned - I admit that sincere, although it is unpleasant to me, to be "understandable," to convey through the game form to the audience (and preferably widespread, as far as possible) as if a "serious idea". And on this path there are two problems at once. The first - the seriousness of the "ideological" message must certainly hit the imnomicity of the form than the "idehe cost" - the more meant, and the more commemorated - the more ironic removal is required, and the movement to the formal simplification is thus turning on with its opposite, because additional "bore" ( Vyneuyev himself, describing the differences between the two last plays, and said - also with irony, of course: they say, the "sunny line" - the play is cheerful, cool and unnecessary, and "unbearably long hug" - another, "boring") requires additional "The Irony", otherwise the "bourgeois" public comes comes and will not suffer the next time the money in the theater (by the way, in the "practice" on the "long arms" hall is sold for November, thank you that I put a chair, Rudnev, Ryzhakov and Brusnikin Also sat on the twistles, and Polozkov - on the floor). However, the sweeping "clearer", the more noticer that he has the same set of "teacher's" banalities to calibration for the sophistication of dramaturgical designs, which, for example, in prose Pelevin - and I would not really want to move the movement In the same direction, which led Pelevin through the vertices of truly complex, virtuoso narrative equipment ("T":

"S.N.U.F.F.":
to the unreadable and empty doodactic primitivism of its latest books: the escaping and monotonous soliptic-escapist-relativistic complex, mixed on the demagogic rhetoric in the spirit of superficially "Budded" Pantheism about the fact that a person is part of the universe and himself is the universe that the earthly bodily being is illusory, That the only possible way to happiness lies through the refusal of my own personality, through the dissolution of personal in the impersonal, the individual in the union, well, the like "Eastern" shnyaga.

Having increasing the degree of irony and complicating formal structures, the sweeping darkens the allegedly "important" meaning for it, and trying to highlight this sense and as much as possible to set out direct text, tolerates creative fiasco (as it happened, for example, in the play "Explain"). "Not knowing where you go, you go to nowhere" - how Sophism sounds incompressive, and how did the didactic Maxim - primitively, especially since "you know where you go," or at least think you know - it still does not guarantee What you actually move where you need, and not quite the other way. Now, judging by the "solar line", sweeping after the "illusions", where everything is the main, important for him and creatively, and the ideological harmony, it works in parallel in two directions, immediately and "genre" ("Summer Osia", " Sunny line "), and in the" preaching "(" UFO "," drunk "," unbearably long arms "), skillfully using the same technique in a third-party view of the opposite purposes. And in those cases when a self-sufficient major director takes for his writings, then the "teacher" without much voltage is transformed into the "comedy", without losing the pathos in the subtext, see "Drunk" Ryzkova in MHT:

The only thing that really confuses me in the game Vygrenaeva with the illusions of being: the same effect that is so strongly achieved by swelling with his plays and performances, but without any creative efforts from the side and without any words, it covers you when, for example , spending two hours in the theater on the performance and leaving the outside notice that during this time it rained there - no play of such a "revelation" cannot offer.

The "Solar Line" of Ivan Vyrypayeva, the play of 2015, was represented in the same year in the extraction program of the festival of young dramaturgia "Lyubimovka", the playwright itself put it in Poland, in December 2017 the premiere of the play was held in Cime, the production was made by Victor Ryzhakov, who More often than other Russian directors refer to the Dramaturgia of Vyrypayev. On the new scene of the Alexandrinsky Theater The performance on this play was set up a young Moscow director .

In the center of the play - Dialogue Barbara and Verner, who lived in marriage seven years.

Ivan Vynepayev about the "Solar line": "I wanted to show the mechanism why people cannot find a contact that they prevent them. The play shows 5-6 such mechanisms: from banal - when we do not hear each other and interrupt, to the maximum - when we perceive the reality in different ways: when one says: "I now apologized to you" - "What did you do now? Are you doing now?! " And the purpose of this play is therapeutic. You can work for some kind of pair that came to the performance, these mechanisms. "

Critics about the play of Ivan Vyrypayev:

"Ivan Vynepayev wrote the perfect comedy. The archetypic "scene from the marriage life" he brought to a complete absurdity. A man and a woman quarreling the night disappeared, the subject of their dispute has long been forgotten, buried under avalanche of mutual reproaches and offended, and to which "positive result" wanted to come spouses, not clearly. We will not recognize any everyday details except the date of the repayment of the loan.
Actually, the text of the Vyrypayev itself is a virtuoso verbal game, excluding any naturalism or "truth of feelings".
This impersonal, an artificial way of speaking testifies to communication problems not only in a particular family, but in modern society in general, at all of its levels - from infinite holivar on the Internet to international political conflicts».
Marina Shimandina, magazine Blog "Theater"

"In terms of personal presence, the" sunny line "is an antithesis of simple and energetic" oxygen ", forever trimmed the course of the newest history of the Russian theater. In straightforwards of the then Vynepayevsky manifesto, the creature of time, a recovery of new sincerity and nihilism - and did not find them in the theater. In the sophisticated structures of the Vyrypayevsky plays of 2010, sincerity is hidden behind the system of precanents - but also the life potential is preserved in them: passing through the play, like through fire or water, the viewer gets the real experience of "treatment word" ".
Kristina Matvienko, colta.ru

In the performance sounds nocturne No. 1 John Field (1782-1837)

Cooperation with the Production Company "Art for People"

Promotional photo to the "Solar Line" play © the center of them. Sun. Meyerhold

Barbara and Werner live together for seven years, and here are joy: this spring they will be able to pay off, finally, credit, and therefore will be free and can build further plans. But instead of plans, a protracted quarrel turns out: now five in the morning, and they argue from ten in the evening ...

Put in the center of them. Sun. Meyerhold Piece Ivan Vyrelpayeva "Solar Line" - an attempt to take into public is intimate, which sooner or later happens, probably in each family: a household conflict. What is usually not customary to share. In front of the viewer - only he and she, behind them - "Seven years, lived under one blanket", or "Seven years of hell", or ... What were these seven years for them - and what will happen in this family next? ..

In Werner - as in any other person - there are two half, I understood once Barbara: she loves one half, on the other incompatible. "And you could not accept me as it is?" - the husband asks. "We will never cross this sunny line. And let's leave all the hopes for it. "- Wife answers. "You do not hear me, Barbara", "he says. "How are you closed, Werner", she sighs.

This performance without any sequers could be called successful if it were not for one "but".

The director is felt here: the artistic director of Tsima Viktor Ryzhakov made a lot to not be bored to look at two artists in almost bare scene. There are interesting points here, there is even a well-well-coordinated "fight", but the main thing - the performance is charged with the excellent game of Yulia Peresilde and Andrei Burkovsky. And if we first know how one of the leading actresses of your generation as one of the leading actresses of your generation, then that comic reservoir will have to be treated for a long time, which has grown on it thanks to television. In the "sunny line" Burkovsky appears with a dramatic artist, although the announced genre of the play is a comedy. For some reason. At all "in Chekhovsky".

Just in the play and the main problem is concluded. The correct idea is spoiled by the author of unusually superficial development.

It is typical and other works of Vynepayev: he has an interesting look, but he is too lazy to dig deeply. He knows how to ask the direction, but he himself is rare when it is capable of reaches even the middle of the designated path. What does not interfere, however, its popularity: it has long been "generally accepted" that now it is one of the most famous playwrights writing in Russian. He is still occasionally and generally quite successful. He found his "formula" and continues to "burn" any topic for which it takes.

So the "sunny line" only pretends that he wants to tell about a family quarrel - which, apparently, occurred in Munich, where the play was written, although it means that it could happen in any other place of a civilized globe. However, he does not let the feeling that the author knows the chosen theme very poorly. Rather, he knows her exclusively in his own most rich - despite several marriages - experience. It must be assumed, somehow it was so he swore with her wives and swears from the current (actually, Carolina, this play is lovingly and dedicated to Carolina). And this sample is truly an intelligent rewritten - even if its participants and consume that it is an abnormative vocabulary.

It is difficult to believe that modern Russian playwright is a word! - It has such minor knowledge in the domestic mate. Probably bad words, he knows much more. But in his play inserts only the furthest of them, why are good artists, with all the desperations of these indecent expressions, do not look so many heroes, how much the polite boy, whom a drunk man in a famous joke caught a drunken man, forcing him. "Pipovka," said Robust, Malgan. "So few?" - Alkash was surprised. "Pipeist car", - finally hesitated the male fell into the hopeless position.

Of course, Peresilde with Burkovsky, playing, as the director warned, "full score of the text" with all its authenticity, operate in words the faster, but it looks even anecdotal: kindergarten, and not life. In addition, the use of Mata under the conditions of theatrical space is very dangerous: the audience, having remembered that it was "comedy", they begin to giggle - because they seem funny the fact of uttering what is inappropriately quoted in the printed text. But in the end, it leads to the opposite effect - and the audience laugh when the actress is hardly with tears in his eyes turns to the hall with a tragic monologue.

But the "sunny line" does not contain anything funny, it is a drama of people who have lost the ability to understand each other. But the endless mat-to-blame, and even so naive here used here, distracts from the point and makes not empathize, but smile. As a result, the impression of the already not the most emitted dialogue dissolves at all.

Of course, not in the use of Mata there is at all; The author simply covers that the small thing that he has to express on the merits of the chosen topic. He does not deepen into psychology, does not develop conflict, he is a joke, even the scene of unaczzled family violence even. He seems to be actually nothing to say. And on this background, the central thought held by him looks particularly stupid. "You're just embraced shit bacteria"- Male calls his wife, whereas it was much more pleasant to hear: "My dear, you're just a diamond". That was the many hours of conversation? .. Well, I do not even know ...

The only essential flasher is no longer the play, but the play itself is his final, in which the artists put the mirror in front of the auditorium. Not only is it a long time already slaughtered and not shaking the originality, so in it still read and false "learned yourself? .." No, they did not know. And let the actors here deserve all sorts of praise - at least for the courage, with which they drawn into such a risky enterprise - but still I want to repeat ... No, I do not "do not believe", and after another classic: they are terribly far from People.