The performance of Evgeny Onegin in the theater. Eugene Onegin

In the last chapter of the study, as the confirmation of the reception of classical Dramaturgia in the postmodern theater, it will be about the play "Evgeny Onegin". This spectrock is the laureate of the first theater award "Crystal Turandot" (for the best performance of the season 2012-2013)

Laureate of the Theater Prize "MK" (for the best performance of the season 2012-2013)

Winner Prize Directorate of the Festival "Baltic House", 2013

Laureate of the STD Prize "Nail Season", 2014

Winner of the National Theater Prize "Golden Mask", 2014

The duration of the performance is 3 hours and 30 minutes with one intermission. The performance is recommended for viewers over 16 years old (16+).

Idea, literary composition and production - Rimas Tuminas

Scenography - Adomas Yatsovskis

Costume artist - Maria Danilova

Music - Faustas Latenas

Choreographer - Angelica Holina

Music leader - Tatyana Agaeva

Light artist - Maya Shavdatuachvili

Greamer's artist - Olga Kalyavina

Pedagogue for work with actors - Alexey Kuznetsov

Pedagogue on stage speech - Susanna Serov

Editor - Elena Knyazeva

Sound engineers - Vadim Bulikov, Ruslan Knushevitsky

Concertremister - Natalia Turia

Intern Assistant - Gulnaz Balpeisov

Assistants Director - Natalia Menshikova, Natalia Kuzina

Evgeny Onegin "Pushkin is an attempt to penetrate the essence of the Russian soul, to understand the unnecessary Russian character to sober analysis. This is Russian society in all his horseshoes - the naive charms of the pagan village and the cold chifferenceness of the highest light. This is Tatiana's courageous trepacy and the playful naiveness of Olga. This is the "mind of cold observations and hearts of sorrowful notice." The performance of Rimas Tuminas destroys stereotypes, he, as always, the author, seen and built polyphonic, musically, rigidly and emotionally. The director is alien poetic fler, it breaks the rhythmic construction of the phrase, he entails a prose of life, he is the enemy of strongest and false lyrity. He destroys the "trash of memories" previously seen and read. He opens a new meaning in character and plot.

Not often in the dramatic theater we meet with Evgeny Onegin Pushkin. Reader programs and opera interpretations prevail.

In the theater Vakhtangov directed by Rimas Tuminas, Julia Borisov, Lyudmila Maksakova, Sergey Makovetsky, Vladimir Vedovichekov, Oleg Makarov and young artists decided to embody the novel in verse in dramatic form. Caution, improvisational, trying to find the scenic equivalent of the word, the plot, not destroying anything and trying not to miss anything. This is our knowledge of Pushkin, his heroes, their world, the space of Russia.

"Who to love? To whom to believe? "

It seems that we know everything about Pushkin. But the volumes of serious research of literary critics and philosophers cannot fully comprehend the poet phenomenon.

Alexander Sergeevich - "Our All" - unknown, mysterious. And every time, referring to him, you fear to repeat in perception, seek to avoid stamps, the knowledge that the poet opposes, for it is always more - indiscreudible. It is not exhausted by the plot.

Evgeny Onegin is what? Philosophical reflection on life in poetic form? - Not only, the story of love is not quite. This is a huge space of the world and feelings that contained all the epochs, the game of the mind, insight, guesses, anger, glory, satire and cynicism, compassion and forgiveness.

"Evgeny Onegin" - "Encyclopedia of Russian Life" and highly popular work, a novel in verse, written in the era of romanticism, where "the modern world appeared with all its cold, prost and vulneracy."

And, at the same time, according to Belinsky, "Onegin - there is the most sincere work of Pushkin, the most favorite child of his fantasy, in which the Poet's personality has reflected with such completeness, light and clear. Here is all life, the whole soul, all the love of him, here is his feelings, concepts, ideals. "

Evgeny Onegin is a spaciousness of Russia, the fate of his heroes, customs, foundations, culture, nature.

This is an attempt to penetrate the essence of the Russian soul, to understand the unsuitable Russian character to sober analysis. This is a Russian society in all its horseshoes - the naive charms of the pagan village and in the cold chifferenceness of the highest light. This is Tatiana's courageous trepacy and the playful naiveness of Olga. This is the "mind of cold observations and hearts of sorrowful notice."

The performance of Rimas Tuminas destroys stereotypes, he, as always, the author, seen and built polyphonic, musically, rigidly and emotionally. The director is alien poetic fler, it breaks the rhythmic construction of the phrase, he entails a prose of life, he is the enemy of strongest and false lyrity.

He destroys the "trash of memories" previously seen and read. He opens a new meaning in character and plot.

Who is the hero of this novene - Onegin? Of course, Tatiana, "Tatiana - Russian soul ...".

Its rusticity in the organic merger with nature, customs, sincere impaired, ingenious fearlessness. She captivated in natural grace, brave straightness, bitter sincerity: "But I am completely given to another and I will be faithful."

Tatiana writes his frank confession to the man who created her imagination, its fiction is more significant, this hergift Onegin, who could neither understand nor appreciate, nor justify his essence.

For Onegin it regular Message, he did not give him a work to comprehend and unravel him, he, according to Dostoevsky, "failed to distinguish in the poor girl of the finishes and perfection." He is not had seen Its neither in the village wilderness, nor in the St. Petersburg salon. He did not want to know, see her. He guessed him Tatyana: "Doesn't he parody?" Although the subject of adoration is sure: "I am young, life in me is strong, what can I wait, longing, longing!". Read - the shower is empty.

In St. Petersburg, Onegin is not captivated by Tatiana itself, it is not a return to the memories, but blinding with glitter, position in the light. For Tatiana - these are Verigi, for Onegin - the dignity that feeds it fantasy and feelings.

Their difference is so obvious that, going towards each other, they will definitely pass by, so that their souls are inexpensable in the concept of love, dignity, spirituality. Her dominant is Russia. His throwing in the light is a fuss, the impossibility of stopping on the main thing, and rather, ignorance that there is the main thing - the homeland, duty, love?

In their nesthest, the bitter pattern of incompatibility.

From the foregoing, you can say about the play "Eugene Onegin", the following. The play "Evgeny Onegin" in the Moscow theater named after the Evg. Vakhtangov - an event in the theater life of Russia. And it's not even that this formulation of Rimas Tuminas became a laureate of many national awards, among which the "Golden Mask" and "Crystal Turandot". In this performance, I managed to do what Alexander Sergeevich Pushkin himself did: tell about our life in the concepts, show Russian life as Encyclopedia. The genius of the genius was added to the genius of the word. It turned out a masterpiece.

It is this property that is interesting about everyone known for everyone - it became the main advantage of the vakhtangov production "Eugene Onegin". This is how the game of all eminent artists, scenography and, of course, the director. It is difficult to imagine that such a deep and light performance could put someone else - not the Tuminas. Tenderness and mind is a rare unity of qualities inherent to the director. Even if anyone would have undertaken to the stage of the novel in verses, then this would definitely be devoid of such a grace.

What is the life of the Russian people? In superstitions, in the indestructible desire to peel to the West and the stubborn faith in his own fatherland, in romanticism and greasibility, along with severeness and composure. The subtexts and ironic hints in the performance create semantic multi-layeredness, and simplicity metaphors - the ease of its perception.

Let's start, however, with the liberties that director allowed themselves. Of course, I had to reduce the poem, however, on the idea of \u200b\u200bTuminas, a substantial part of the author's retreats was preserved. Thus, Tuminas, like Pushkin, led his performance from the banal history of love. The second liberty is the introduction of the second main characters: together with young Onegin (Victor Dobronravov) and Lensky (Vasily Simonov) on stage, their matured twins appear on the stage (Onegin - Alesa Guskov, Lensky - Oleg Makarov), and it is they who read poetic reflections of Pushkin about life . In addition, there are completely new characters: Gusar retired (Vladimir Simonov), which also reads only the lyrical retreat of the poet, and a wanderer with the Old Russian Balalaica Domroy (Catherine Kramzina), which gives onegin silent instructions and bursts.

This wanderer has a type of delicacy: in dark clothes, with swollen hair, pale thin face. Wandering on stage, sad by the rudeness of Onegin and sincerely grieving on the killed Lensky, she personifies the mystery of the soul of the Russian people: not too civilized, but too much to heart pain. Onegin sees the disagreement of his wanderer and comes against it - from stubbornness or from squeamishness to the opinion of such a unbelievous adviser. The triumph celebration is that it is a wanderer who is closer to all to the truth and conspite the lyrical deviations of Pushkin.

The hare (Vasilisa Sukhanova), unexpectedly ran the Larina carriage on the Moscow Fair of the Bride on the road. In general, the topic of superstitions of the Russian people is read in everything: in scenography, where the stage of the scene is one large mirror. As you know, the mirror in ancient Russia is the border between the world real and otherworldly. The mirror not only refracts in his reflection the life of the capital hero: He is under the guidance of the dancer (Lyudmila Maksakova), girls are preparing for the ball and make Plie with batmans, the mirror gazes Tatiana (Evgenia Kregyde). At the same time, the proper saturation of space is minimal, which creates an even more volume of life represented. And on the stage - it is the life of Russia of Russia of the first half of the XIX century: with balas, carants, Moscow relatives and St. Petersburg Bomb, with provincial romanticism and the proximity of nature.

Like Pushkin, Tuminas does not make heroes the main and secondary - it is all equal and everyone is an indispensable part of the described life. Therefore, everything on the scene is so intended and original: all the magnificent plastic with the movements ticked to the tips, everyone has their own way out, are still equivalent. The latitude and scope of Russia are shown on the holidays: the name of Tatiana is dancing with a true Russian burrow and joy, selflessly and unconsciously! Came Tatiana appears the finest and the purest essence of the Russian woman - a dreamy, gust, but strong and devoted to what believes. And she believes in love: "I am completely given to another, and I will be true to him," the love is humble, the highest, divine, triumphs in the consciousness of the heroine over earthly carnal love. In Evgenia Kregyde, in her facial expressions and inner musicality, there is everything to show Tatiana "Russian soul".

The unfortunateness and harmlessness of Olga (Natalia Vinokurova) was the outline due to the beloved and exclusively popular Russian tools Bayan: the heroine with him is always. And immediately all questions about her arrogance and non-smoothness disappear - it is designed for other happiness, more simplified. But it is beautiful!

It is not worthwhile to be surprised by Lithuanian surnames in the description of the performance in the program: both director Rimas Tuminas, and the scene Adomas Yatsovskis, and the Fowstas Composer Latenas, and Evgenia Kregyde, - all these people have long been faithful to Russian culture and Russia. And the performance itself, so delicately and lovingly made by them, once again confirms that Russian culture and Russian people will always be interesting - how interesting beauty, paradox and talent.

Based on the above, we can say the following. The originality of today's Moscow and in general the Russian theater situation is, however, in the impossibility of carrying hard boundaries between different theatrical loci. The absolute majority of Moscow theaters ranging themselves to the carriers and distributors of high culture includes performances, thematically, especially and economically, rather, rather, to commercial en - Trepriz. One of the reasons for such a situation - the peculiarities of the currently established theatrical audience, the changed configuration of its cultural queries. A regular way a new middle class and a new bourgeoisie you have been tested from theatrical chairs an intelligentsia, which is not long-dominated in a context cultural field. On the other hand, the border between the traditional and innovative theater is and first of all, in their handling of the literary classics turns out.

From the point of view of the viewer acquiring theatrical tickets, the choice of classics is always win-win. It is like a guarantee of quality, stability and reliability. Curious at the same time, that the degree of radicality itself is practically not affected by the massic audience.

Determining when selecting Tickets factors is the name of the play, sending to one or another classical work. Another distinctive feature of the Russian theatrical situation of recent years is the phenomenal predominance of theatrical classics over the production of modern texts9. This article is devoted to the problematization of the status of literary classics in the modern Russian theater and considers the staged algorithms currently applicable to classical texts, as well as visual intentions and expectations associated with the attitude towards the classics.

In the theater Vakhtangov directed by Rimas Tuminas, Julia Borisov, Lyudmila Maksakova, Sergey Makovetsky, Vladimir Vedovichekov, Oleg Makarov and young artists decided to embody the novel in verse in dramatic form. Caution, improvisational, trying to find the scenic equivalent of the word, the plot, not destroying anything and trying not to miss anything. This is our knowledge of Pushkin, his heroes, their world, the space of Russia.

The performance of Rimas Tuminas destroys stereotypes, he, as always, the author, seen and built polyphonic, musically, rigidly and emotionally. The director is alien poetic fler, it breaks the rhythmic construction of the phrase, he entails a prose of life, he is the enemy of strongest and false lyrity. He destroys the "trash of memories" previously seen and read. He opens a new meaning in character and plot.

Who is the hero of this novene - Onegin? Of course, Tatiana, "Tatiana - Russian soul ...". Its rusticity in the organic merger with nature, customs, sincere impaired, ingenious fearlessness. She captivated in natural grace, brave straightness, bitter sincerity: "But I am completely given to another and I will be faithful." Tatiana writes his frank confession to the man who created her imagination, its fiction is more significant, this is her gift to Onegin, who could neither understand or evaluate or justify his essence.

For Onegin, this is another message, he did not give him a work to comprehend and unravel him, he, according to Dostoevsky, "failed to distinguish the finishes and perfection in the poor girl." He did not see her in any rustic wilderness, nor in the St. Petersburg salon. He did not want to know, see her. He guessed him Tatyana: "Doesn't he parody?" Although the subject of adoration is sure: "I am young, life in me is strong, what can I wait, longing, longing!". Read - the shower is empty.

For whom will suit

For adults, lovers of classics and theater.

Why you should go

• Setting a classic work
• Stunning actor's game
• Another look and other interpretation of the classics

ATTENTION! The timing of tickets for all performances of the Wakhtangov Theater is 30 minutes!

A.S. Pushkin

Producer: Rimas Tuminas

It seems that we know everything about Pushkin. But the volumes of serious research of literary critics and philosophers cannot fully comprehend the poet phenomenon.
Evgeny Onegin is what? Philosophical reflection on life in poetic form? - Not only, the story of love is not quite. This is a huge space of the world and feelings that contained all the epochs, the game of the mind, insight, guesses, anger, glory, satire and cynicism, compassion and forgiveness.
This is an attempt to penetrate the essence of the Russian soul, to understand the unsuitable Russian character to sober analysis. This is a Russian society in all its horseshoes - the naive charms of the pagan village and in the cold chifferenceness of the highest light. This is Tatiana's courageous trepacy and the playful naiveness of Olga. This is the "mind of cold observations and hearts of sorrowful notice."

The performance of Rimas Tuminas destroys stereotypes, he, as always, the author, seen and built polyphonic, musically, rigidly and emotionally. The director is alien poetic fler, it breaks the rhythmic construction of the phrase, he entails a prose of life, he is the enemy of strongest and false lyrity.
He destroys the "trash of memories" previously seen and read. He opens a new meaning in character and plot.

Who is the hero of this novene - Onegin? Of course, Tatiana, "Tatiana - Russian soul ...".
Its rusticity in the organic merger with nature, customs, sincere impaired, ingenious fearlessness. She captivated in natural grace, brave straightness, bitter sincerity: "But I am completely given to another and I will be faithful."
Tatiana writes his frank confession to the man who created her imagination, its fiction is more significant, this is her gift to Onegin, who could neither understand or evaluate or justify his essence.

For Onegin, this is another message, he did not give him a work to comprehend and unravel him, he, according to Dostoevsky, "failed to distinguish the finishes and perfection in the poor girl." He did not see her in any rustic wilderness, nor in the St. Petersburg salon. He did not want to know, see her. He guessed him Tatyana: "Doesn't he parody?" Although the subject of adoration is sure: "I am young, life in me is strong, what can I wait, longing, longing!". Read - the shower is empty.

In St. Petersburg, Onegin is not captivated by Tatiana itself, it is not a return to the memories, but blinding with glitter, position in the light. For Tatiana - these are Verigi, for Onegin - the dignity that feeds it fantasy and feelings.

Their difference is so obvious that, going towards each other, they will definitely pass by, so that their souls are inexpensable in the concept of love, dignity, spirituality. Her dominant is Russia. His throwing in the light is a fuss, the impossibility of stopping on the main thing, and rather, ignorance that there is the main thing - the homeland, duty, love?
In their nesthest, the bitter pattern of incompatibility.

First, even before the closed curtain, the Music of Faustas Latenas arises - a stunning, like a flash of light-noise grenade, as if the explosion of a meteorite over Chelyabinsk. Sound wave punch - and silence. And a typical Tuminosian empty scene opens (Scenography - Adomas Yatsovskis). Almost empty. The prevailing color is black. Life immersed in the night. B death.

And the mirror in the entire back. Like a busy "black square". Schoing, pulling into yourself, as in a black hole, all who will be sideways from the scene ... This is the oscillating mirror - as aged, blackened curtain from the Lyubovsky "Hamlet". He now lives on the backyards, but also terrible and inexorable. And at the same time, on the scene, the scene, which would ideally come to the performance of Konstantin Trepleva in the "Seagull". (Chekhov's "cherry" mood of farewell to the "old" Russia is very noticeable in EO Tuminas.) So it seems that the Nina Zarechnaya will appear and say: "As a prisoner, abandoned in a blank deep well, I don't know where I and I and What awaits me. Coldly, cold, cold. Empty, empty, empty. Scary, scary, scary ... (against the background of the lake two red dots are shown) Here is my mighty opponent, the devil. I see his terrible, crimp ... "

And appears ... Eugene Onegin. Creepy, infernal and old. Mustache evil spirit.

Who lived and thought, he can't
In the soul, do not despise people;
Who felt worried
Ghost of irrevocable days:
There is no charm,
That serpent memories
That repentance gnawing.

These are the first words of the performance. His leitmotif. "All the lives, all the lives, all the lives, accomplishing the sad circle, fought ..." Onegin Sergey Makovetsky - a man tired of life. Which also clearly completes its circle of life and can not get rid of the gazing of memories. It is completely incorrect to say: Well, how, and where is the shittomati start? - "My uncle is the most honest rules, when not a joke of Zalenor ..." Where from schools learned by heart? - "What is a low cunning // Sexing to fun, // him pillows to correct, // Sad medicine sadly, // Sigh and think about yourself: // When the hell will take you!"

Here he, this "uncle", in front of you! Onegin Makovetsky is just that the very semi-winged uncle is waiting for hell. Circle is closed. Everything returned to the circles.

EO Tuminas special. Here everything is a ghost reflection system and echoes. Here the second reality is reflected in the mirror - often more important than the first. Here the shade is more important than the tone. Who is real here - and who is the shadow, vision? Who is there in the flesh, with veins and blood? Rather, it is necessary to talk about the "carepersion" of the performance - all numerous dancelassa girls (led by brilliant Anna Antonova) more niada, mermaids, fairies than the real dancers. And the same applies to their ladies called in the Dance Makester Program, from which Kipheny Lyudmila Maksakova is completely disappeared, considering this definition too narrow, domestic. She, of course, is different. That white, kind swan - Odeta, then the Black Swan Odile - the Herald of Death and the Symbol of the deceased love (in the last scene). And it is sometimes not the good old-making old man, not the terrible black woman from Nord-Ost.

Therefore, I will say more: the scene is not the characters of the novel Pushkin, but their souls are disembodied souls.

But still. We all know - "Merry Name Pushkin". Yes, and the EO itself in a special gloomy will not reproach - "Encyclopedia" can not be gloomy. Why does the Tuminas eliminate all the bright and lyrical, all these "lyceum gardens" and in the "Summer Garden to walk", and leaves an obviously gloomy palette? "Always fucking, silent, // angry and cold-jealous." So you can say not only about Onegin, but also about the whole performance.

It's time to say the most important thing. Conceptually performance is built around only one episode of the novel, being, in fact, the dramatization of only this small fragment of the fifth chapter. The basis of the entire performance, its semantic kernel is the so-called "terrible dream of Tatiana." And it's not just that this dream is brought into one of the culminating scenes of EO Tuminas, where we are waiting for the real benefit of the great Yulia Borisova, to help which the Schoktunovsky Innogenius is sent from the highest spheres, - that the whole performance is built on it A dream that "germinates" in almost every scene. From this sleep, all the threads are drawn. After all, a gloomy half-empty scene - not only revived "black square" or a witchcraft scenery to the spectrum of Treplev, but also the screensaver, a condensed atmosphere of those the most "dreams" lines: "And the wonderful dream of Tatyana is dreaming. // She dreams that she // goes On the snow member, // Sad Mulley is surrounded ... "And then:" Two porchos, glued ice, // trembling, frozen movement ... "

Next - in a dream - "Big, disheveled bear ..." "... Paw with sharp claws it stretched out." And this bear will pursue Tatiana (Olga Lerman) to the end, and no longer in a dream it will make it to make his wife. This meeting will be materialized in the final, in which Tatiana dances with the chuckles of a huge drill bit. Yes, and the prince himself, for which Larina will be released, - Yuri Sllykov, the Buizitive, with Bengnebards and with a heavy, "proud", but the Kosolapoy Gait - the poured "General Toptygin" from Nekrasov's poem - isn't it reminding that Bear from a terrible sleep?

Further. Tatyana decides to survive on the door, behind which the Onegin is surrounded by the monsters: "And, curious, now // Slightly dissolved the door ... // Suddenly the wind revealed, fastened // Fire Night Lamps. But in fact, the Tinumas puts the scene of the date of Onegin with Tatiana - with the wind and hurricane!

And finally, the last lines of sleep: "Suddenly Eugene // there is enough long knife, and Lensky is blocked." But it is so that Tuminas is painted with Lensky in a duel scene! There Negin really did not kill, but slaughtered Lensky!

As soon as the reviewers did not explain the two Onegin and two Lena performances of the Tuminas. You can, of course, consider (and this is also true!) That the director wanted to withdraw the lived, wise experience, aged Onegin to push him in the memoirs with Onegin Young (Victor Dobronravov). And to imagine not only the "romance" Lensky (Vasily Simonov), but also Lensky (Oleg Makarov), which could be, did not happen that the most duel.

But, in my opinion, the "split" of Onegin and Lensky is also the "consequences" of reading the novel in line with the episode alone. Young heroes - from sleep. And the elderly and lived - from the novel.

But this key for EO Tuminas is preceded in the canonical text of the scene of St. Tatiana and Olga (Maria Volkova) in the canonical text. For some reason, no one drew attention to the fact that the performance turned out to be aggressively pagan. I specifically asked many spectators: And what are the features of the Orthodox entourage (and even something purely Christian), which defines deeply religious Pushkin Epoch, - icons, crosses, candles, lamps, prayers - they noticed in this performance. The answer is no. There no longer crossed himself - even in the scene of the wedding of Tatiana and Prince. In general, a unheard of something for the performance made by "Encyclopedia" of the era! Just in the very scene of the engagement, the lamp at the conventional altar is given to the audience only in reflection. It seems to be, and it seems to be it. It is not an Orthodox to us in front of us, absolutely atheistic and not Orthodox. Despite the hiking "and the flock of the crestes" (in the novel, but not in the performance). So it seems - will be taken out on the forefront the lamp, someone will cross - and the spells of demons, black people, Mephistophele Onegin - will disappear and all the heroes, contacting the monster from the terrible dream of Tatiana, climb away from the theater temple, as from the church in Gogol "

But here Rimas Tuminas did not shove against the truth. As the Russian philosopher Ivan Ilyin wrote, the trouble of Onegin is that he "existed on a draft between heaven and the underworld, and his experience was the experience of life without God, without faith. God did not serve for Onegin neither regulatory, nor explanatory principle. "

This is the motive: "Russia is the country where God was killed," the head appeared in my head whenever I thought about this or that important stage of the performance. But it happened not because Tuminas tried to somehow illustrate the words of a modern researcher: "... In Onegin, only the sprout of the atheism-demonism was barely fought, which will then bloom in a bright and terrible flower in the image of Stavrogina, sprigs the sinister paints on the canvases of the semi-sinking Vrubel And even later, the seeds of gog-workers are hardly eager for the whole Russian text and in the expanses of the whole Russian land. They will go away wild bungyan mad bodies ... "(Vladislav Bachinin). And because you constantly think about the power of the figurative rows of the director, who seemed to do not do anything to seem to see his performance, easily removes me from the state of a simple enthusiastic contemplation and skillfully "combs" the saddest "scuba", belonging to the history of Russia All of her postcase almost two hundred years.

Here, for example, the first scene of visiting Onegin Manor Larina. How to betray simplicity, but at the same time, the soulful's rural morals, special home and mercy of the Larinsky life? And Onegin begin to continuously ride the lingonberry water. But the item mentioned and in Pushkin it turns into a whole multi-sieuled epic: Eugene make one pitcher, the other, the third - he drinks, but does not give up. Well, why, tell me why I remember the scene here from the Sholokhov "fate of a person" (1), relating ... to the German concentration camp? Yes, and there is the same check of the hero "on the stitching". But if Onegin is threatened only to the stomach disorder ("I'm afraid: the lifting water // I did not make any harm"), then Sokolov threatens death ...

And how to transfer the simple, slightly provincial, naive family holiday - the name of Tatiana? To become warm and familiar? And Olga appears with the accordion (about which, of course, the Pushkin himself and the layer did not hear) - as a massive-custody from the "life of resting" Nikolai Gubhenko. Remember there Rolan Bykov with accordion?
Yes, and the concert itself was made funny and provocative - all the time we are waiting for Placido Domingo or Khvorostovsky, and once at once every home-grown cobsons and trophimians appear.

And gradually feel that all these associations cover the entire history of Russia, all its dark and bright parties. Here, for example, invented by the Gusar in resignation, performed by Vladimir Vdovichenkov, who appears "as a lawless comet // in a circle of the shine calculated." "Widovichenkov invented a great role. Retired hussar with a bristle (when both freakinga), similar more than General Charnot at the Konstantinople Gran Bazaar "(Elena Dyakova).

Even the most innocent scenes in EO Tuminas for some reason carrying an incomprehensible loop of completely deadly associations. Here are girls sitting in the war and go to the bride fairs to Moscow. But we look inside - and there is an in front of us ... the inside is straightforwards some prison stained car. "Rustic girls are driven into a huge carriage, as if the arrestants are in a dryer, and they smooth into it and in the coffin" (Roman Shazanza). "And it seems that it is not Tatiana, and all Russia moved on a reference, eternal path in hopelessness" (Alain Karas). "The door" carriages "is smuggling that the Chekhov house where the Firs forgot" (Natalia Kaminskaya).

God you are my horror! And just the girls went for the grooms! And so the tummina has all three and a half hours!

And parting scene with braids? In Moscow, girls cut their beautiful hair to make them hairstyles in the last secular fashion. And to me with my perverted imagination, I will have a habit of maiden from the future of the female battalion who defended the winter in October 1917 ...

And the reception of the implemented metaphor! As the death of the father sisters of Larina is strikingly passed. He stands, looks around, trying to catch the views of others, but everyone will dismiss her eyes, and he understands that .. he just tangible becomes a stranger, distinguished from everyone. But it does not want to leave, slightly rests, but still accompanying spirits - all the same Maksakova - strictly takes him by the hand and slowly leads to the darkness, in non-existence. Here it is the implementation of a metaphor that replaces the wording "he died". Larina's father "left". Gone there, where do you know ... it is ingenious!

In general, the skill of Tuminas is shaking. Here is a scene of the courting of Onegin for Olga called Lensky. Most recently, in another theater, I watched the scene of seduction. On the play, Lovelace-Depravitus seduces a 14-year-old girl. And how terrible this scene is delivered! There was a unbutton belt and almost lowered pants and so on, no less aesthetically unpleasant. And here in the eyes of the whole honest people over Olga, they almost did not abbot - and at the same time no vulgarity, vulgar details and the vulgar game. And this hanging condom (fantasy, fantasy, my patient fantasy!) Glove from the mouth of Olga forever I will remember ...

And what is the associative train at the culmination scene duel! Firstly, when the seconds begin long and methodically pull the clearing for a duel - and it is done with some terrible circumstance and dark strength - well, it is impossible not to reveal the horrors - from the Zatapting of the Rib, with a rapidly lived people, to the very simple metaphor , symbolizing the mensored Russia ... Secondly, what I have already said, - Onegin here does not kill, but challenges Lensky. It can be said - raises the forks (oh, here all the peasant riots are from Pugachev to the post-revolutionary Tambov Antonova). Thirdly, the deceased Lensky remains in a position not killed, but rather hanged (well, it's even terrible to list the options - here and hanged the Decembrists and tortured somewhere in the Crimean CCC. Russian officer). And finally, the last. Nude to Lensky's belt will be taken away almost on children's sleds - almost like the deceased in the blockade of Leningrad, who is being brought to the Volkovo cemetery or piscalco ...

It is this scene - a culmination. Highest strength and energy. And then ... The performance as if the magic wand is started to be stopped, and then just freezes. As if out of it, some important spring pops up and the action stops. And the remaining scenes are, of course, are curious and in their own way, but they are most likely made because it was necessary to somehow bring the story to the end. From here and empty, not supported by the intention, beautiful - swing and plug-in numbers are cute, but empty (bunny). And the final explanation of Onegin and Tatiana looks at all the tragic failure of the performance - so academic, with pressure, they play it unrecognizable Makovetsky and Lerman ...

How do not twist, but it turned out a performance about demons. No, not about demons. About black people. Which come to everyone, and we drive them, and it turns out that they drive their reflection in the mirror. It turned out a performance about human suffers and misfortunes, only occasionally asking for something kind, about the transpar path of Russia, about Russia without God - no, not so, - about Russia without God. The performance of Rimas Tuminas was the terrible encyclopedia of the Russian future - with all his horrors and nightmares.

(1) "He got up and says:" I will have a great honor you, now personally
shooting you for these words. It's uncomfortable here, let's go to the courtyard, there you and
sip ". -" Will Your ", - I say to him. He stood, thought, and then
i threw a gun on the table and pours a full glass of a jerk, a piece of bread took,
put a slice of Sala and all this gives me and says: "Before death
drink, Russ Ivan, for the victory of German weapons. "
I was from his hands and a glass took, and a snack, but as soon as these
words, - I loved me to fire! I think about myself: "To me, the Russian soldier,
yes, I began to drink a German weapon for the victory?! And something you do not want, Herr
commandant? One damn me to die, so you got the way with your
vodka! "
I put the glass on the table, put a snack and say: "Thanks for
treat, but I'm not drinking. "He smiles:" You don't want to drink for our victory? IN
so now drink for your death. "And what did I have to lose?" For his
dying and getting rid of flour I will drink, "I tell him. This took a glass and in
two throat poured him into yourself, and a snack did not touch, politely wiped her lips
palm and say: "Thanks for the treat. I am ready, Herr Commandant,
come on, cut me. "
But he looks attentively so says: "You even doubt
death. "I answer him for it:" I do not eat after the first glan. "
He pours the second, gives me. I drank and second and again a snack is not
i touch, on the courage Bugh, I think: "At least getting at the same time to go to the yard, with
life parted. "High raised his whites his white eyebrows, asks:
"What do not eat, Ivan Russian? Do not be shy!" And I myself: "Sorry,
herr Commandant, I and after the second glass I was not used to climb. "He pissed
cheeks, snorted, and then how caresses and through the laughter something quickly says
in German: it can be seen, translates my words to friends. They also laughed
chairs shared, turn to me with the faces and already, notice, somehow
otherwise, I look at me, it seems to be softer.
Pours me a commandant third glass, and myself shakes from
laughter. I drank this glass by a rotor, bit off a small piece of bread,
the residue put on the table. I wanted to me, damned, show that although I
and with the hunger, it disappears, but I'm not going to give up my hand, that I have
there is own, russian dignity and pride and that in the cattle they don't
turned, no matter how hard they tried.
After that, the commandant became serious, corrected at his chest
two iron crosses, out of the table unarmed and says: "That's what,
Sokolov, you are a real Russian soldier. You are a brave soldier. I am also a soldier and
respect worthy opponents. I will not shoot you. Besides today
our valve troops came to the Volga and the entirely mastered Stalingrad. it
for us, great joy, and therefore I generously give you life. Stay B.
your block, and this is your courage, "- and gives me a small
loaf of bread and a piece of sala.
I pressed the bread to myself, sally in my left hand I keep it before
confused from such an unexpected turn that thanks did not say, did
left around, I go to the exit, and I think: "He will light up nowar
blades, and not tell the guys of these harms. "No, it cost. And this time
death past me passed, only coldly pulled it ... "

Mikhail Sholokhov, "The Fate of Man."

And what really?

In the morning, the house of Larina guests
The whole is full; whole families
Neighbors came across
In kibits, in the bricks and in the sleigh ...
The scene of the name is specially solved so as to cause us boredom and irritation. It was these feelings that I experienced Eugene in the names and, having cared for Olga, he decided to suffer Lensky for his deception. Perhaps Lensky sincerely became mistaken and deceived himself.
Crank, hitting the feast huge,
I was angry.
... he sneaked, and indigrant,
Shaved Lensky to scatter
And the order to take revenge.
Pushkin scratched inspiration in folk art. In Russian fairy tales, a bear is one of the main characters. Irina Petrovna, do you like Russian tales? Are you not embarrassed there "Russian stereotypes of bears-balalaika"?
The bear in the play first appears (mentioned) in the dream of Tatiana. He helped her move through the stream, defeated on the way, and when she stumbled, picked up and taken to Onegin. Sleeping in the play I read Kupchechko, dressed and combed as Tatiana in the final scene. In adult Tatiana hands - a whip, one of the symbols of the Muk Christ. The same whip young Tatiana will take away from the hands of the dead dancers and leave him in his final dance. Sleep Tatiana - prophetic. He foreshadows everything that happens next in the novel, including the future marriage. In addition, the bear in a dream of a heroine is Kum Onegin, and her husband, general, really falls on a relative and friend. By the way, the dream also mirrored reality: first Tatyana meets the bear, too, he ends and ends with the murder of Lensky. In reality, everything will occur mirror - symmetrically (again the back-mirror is justified): after two days, Lensky will die, after the time of the Onegin will demand-pray "mine". And in the final, after a farewell explanation with Onegin: "I love you (what to cherish?), / But I'm given to another; / I will be a century for him true," Tatiana dances with a bear-husband-general, thereby, from her sleep . This dance symbolizes its conscious decision, even determination, take this fate and not to break once and for all of this oath. In the hugs of the bear "she is insensitive submissive, / will not move, it will not die ..." (curtain)
Again everything in Alexander Sergeevich! And nothing more.
The performance of the Tuminas - the anthem of the Russian woman who is capable of the most sincere feelings, noble and sacrificial.
Remember how girls take off in the snow-white (color of innocence and purity) dresses, before explanation by Tatiana and Onegin. And this is not only insanely beautiful! The scene symbolizes the moral height of Tatiana, its moral superiority over Eugene.
Onegin is morally punished for his pride, betrayal, murder of a young friend, evil, causing them to others, for aimless and fruitless life. Together, alone, he remains only to remember that "... happiness was so possible ..." (the first and last picture of the performance).
What is "vulgarity"? What is the "obscurantist"? And where does "liberal thinking"?
Pushkin's novel is full of symbols and riddles. The director put the play, masterfully continuing this game. The performance fascinates and shakes, admires, makes not just reread the original text, but to study it, - to solve these riddles.
Read the novel! Read literary criticism! Do not hope that schoolkins are enough for you. Maybe then many places you are in the play will not be so annoying you. Yes, and the sense of humor must be developed. Without him anywhere!
I am sure that "Russian values" (?) It does not suffer from this performance, and the "Russian culture" only wins.
Thanks to Rimas Tumbus for his reverent attitude to Russian classics, for respectful attitude to the viewer, thanks to all artists for serving art.
P.S. Baltic German Adam Johann Background Kruzenshtern, Danes Vitus Bereng and Vladimir Dal, Scot Barclay de Tolly, Georgian Prince Bagrationi, Jew Leo Landau, Germans Friedrich Zander and Svyatoslav Richter, Lithuanian Rimas Tinas and others make up the pride of my fatherland and served him more than other "Russians".