A play about Dostoevsky for the school. F.M

"Independent newspaper"
16.11.2015

Whoever saw, remembered for the rest of his life the performances "after Dostoevsky", the author, who does not let the director go. "Notes from the Underground" was played on the main stage of the Moscow Youth Theater, "We are playing" Crime ... "- in the wing," K.I. from "Crime ...", which premiered exactly 21 years ago in November 1994, can still be seen today in the space called "Games in the White Room." Today, many years later, the theater reopened the stage of the "Games in the Wing", again - with a performance "after Dostoevsky", even more precisely - again on "Crime and Punishment". The first performance was played on the writer's birthday.

Ginkas is one of those directors who, for some reason, it is customary to "formulate": it has become a commonplace, for example, to say that his performances are about death, that he is consistently developing this topic or range of topics connected in one way or another with death like a rich breed. The director once even entered into a dispute with one of these opinions - they say, not about death, but, on the contrary, about the life of his performances. I really want to get away from cliches - in a way that does not repeat itself, referring to the same "Crime and Punishment". Why "like"? Because every time Ginkas from this not very populous text brings to the stage new pair heroes. At first, Raskolnikov (Markus Groot) and Porfiry Petrovich (Viktor Gvozditsky) conducted the dialogue, and everyone who saw it still shudders from the scene, which was shifted to the final, in which Raskolnikov was chopping cabbage, and the audience saw - he was killing an old money-giver and her sister, in the second performance Katerina Ivanovna Marmeladova () became the heroine, and the audience became the addressee of her semi-insane monologues, in the new performance, which was played for the first time at the end of last week, the main interlocutors are Svidrigailov () and Raskolnikov (). In the white space of the stage - it was exactly the same white then, many years ago, when Viktor Gvozditsky and Markus Groth played here - any color blotches are very important, two artists of the burned-out theater are responsible for the color in the new performance - this is how they are named in the program Dostoevsky, however, does not protest; on the contrary, he gave the director the necessary grounds for such colored dreams. The fact is that the subtitle of the new play "On the Road to ..." is "Russian Dreams after F. Dostoevsky." These artists - two strange female characters with axes stuck in their heads - are played by Anna Kolobaeva. Circus heroes, with their appearances and passages, they seem to be supposed to break up the difficult conversations between Raskolnikov and Svidrigailov, but, as usual with Ginkas, the expansion of the amplitude of feelings and emotions only enhances, exposes the dramatic nerve, drama in general. If it hadn't been for such a scary and funny thing, the tragedy would not have been so terrible, not so difficult.

“We've washed a floor,” Raskolnikov’s first remark is pronounced almost indistinctly, making you strain your ears. Ginkas mixes on stage young actor- the same age as Raskolnikov! - with Gordin, on whom he has been building his repertoire in recent years. Gordin, I must say, is only gaining from performance to performance, in the role of Svidrigailov in some scenes simply bewitching with the disgusting charm of his hero - that quality that so attracted, it seems, the writer himself in the various scoundrels that so abundantly inhabit his novels. The touching vulnerability of the local Raskolnikov, his shattered nerves, which were too strong for them, let's call them that, strong impressions, in the new performance converge with the experience of the second actor and his hero Svidrigailov: whatever one may say, here is death, a murder committed by Raskolnikov, there - two steps to suicide Svidrigailov. Well, talk about prohibitions and freedom, issues that tormented both of them in the confined space of a small room, where there is a playground, and auditorium for several dozen spectators - in Dostoevsky's favorite cramped Russian life and the breadth of ideas offered by the Russian mind. The "Games in the Wing" scene is just right for such performances. It seems to be a rather big "apartment", but, wandering through the rooms before the performance, you invariably bump into the same spectators. Chekhov appreciated, as you know, when words are cramped, and thoughts are spacious, but Dostoevsky's heroes are cramped in both, because of this crampedness - the inevitable collisions of opposites, as Svidrigailov and Raskolnikov appear here. It is very difficult for both of them to live.

The eyes of Svidrigailov-Gordin, it seems, at these very moments of peeping in, I apologize for the arrogance, beyond the threshold of being, are imprinted, it is already impossible to forget them. His sweet thoughts frighten with their attractiveness, here Dostoevsky, and behind him Ginkas cruelly mock the innocent public.

As you know, the road to America becomes for him the road to ... So he wants to live!

November 11 marks 197 years since the birth of one of greatest writers Fyodor Mikhailovich Dostoevsky, whose works have long become not only literary, but also theatrical classics. Today we will tell you about 5 bright performances based on the works of Dostoevsky, which in soon can be viewed in Moscow.

1. Rock opera "Crime and Punishment" at the Moscow Musical Theater
The idea of ​​an extravagant interpretation classic novel Dostoevsky, who became a kind business card writer, came to the head of the director, screenwriter, People's Artist RSFSR Andrei Konchalovsky. Together with the poet Yuri Ryashentsev, with the participation of Mark Rozovsky, he created not just new edition the rock opera "Crime and Punishment", written 35 years ago by composer Eduard Artemiev, but something completely new and unlike anything else. 60 people are involved in the musical. The timing of the events is blurry. The production is rich in various musical styles- you can hear opera, rock opera, as well as notes of urban and folk romance. The sets were created in London based on sketches by production designer Matt Diili. Quinn Wharton, a well-known American professional in this field, acted as one of the choreographers. The casting was very large-scale. For example, 1,500 girls applied for the role of Sonya Marmeladova, of whom only 5 artists were selected.
When: from October 20 to November 11
Where: Moscow Theater of the Musical
Price from 500 to 10,000 rubles

2. The play "The Idiot" at the Theater of Nations
WITH light hand director Maxim Didenko, three times nominated for " Golden mask", A performance based on the novel of the same name Dostoevsky's "The Idiot" received a completely new sound and visual embodiment. In the production, only five artists appear on the stage: Ingeborga Dapkunaite, Evgeny Tkachuk, Artem Tulchinsky, Roman Shalyapin and Alexander Yakin. Ingeborga plays the role of Prince Myshkin. The director of the play explained that for him the main thing in this story is love triangle"Myshkin - Nastasya Filippovna - Rogozhin" and the events twisted into this plot. According to Didenko, “in our world, among other things, two things have been lost: the culture of clowning and the perception of Dostoevsky as a living ironic person”. That is why it was decided to make a performance in the genre of "black" clownery.
When: November 23
Where: Theater of Nations
Price: from 1,000 to 4,000 rubles

3. The play "Gentle" at the Theater Center "On Strastnom"
One of recent works Dostoevsky, the story "Gentle", became the reason for the one-man show directed by Pavel Safonov and actor Yevgeny Stychkin. A dark story about the transience of life, love wounds and spiritual ordeals of the hero is intended to remind viewers of the need to take risks, fight against self-importance and self-sacrifice for the sake of preserving loved ones. A poor young girl without love marries a moneylender, who immediately after the wedding begins to punish his wife with unbearable silence. The story is told from the perspective of a moneylender who does not explain why he is so cruel to his wife. In one of the final scenes, the hero asks for forgiveness from his wife and swears that he loves only her alone. But this confession does not help him save the girl, and she is thrown out of the window.
When: November 15, 4
Where: Theater center"On Passionate"
Price: from 200 to 1000 rubles

4. The play "Someone else's wife and husband under the bed" at the Theater. Vakhtangov
On the stage of the First Tetra Studio named after Vakhtangov, director Ekaterina Sonnenstral decided to tell the audience a story about the eternal "Dostoyevsky" themes: love, passion and jealousy, which can drive a person to madness. There are no decorations in the play - after all, nothing should distract the audience from the actors' play. According to the director, in his early work Dostoevsky mocked the popularity of vaudeville in those days. The story "Another's wife and husband under the bed", compiled by the author from two works "Another's wife" and " Jealous husband", Written easy tongue inherent in Dostoevsky in early period his creativity.
When: November 9
Where: The first studio of the Theater. Vakhtangov
Price: from 800 to 1,000 rubles

5. The play "Brother Alyosha" at the New Moscow Drama Theater
Play famous playwright Viktor Rozov's "Brother Alyosha" was written based on Dostoevsky's novel "The Brothers Karamazov". For the stage version of this story, Rozov singled out only one hero - the youngest of the Karamazov brothers, who is trying to find a way out of the impasse in which relations between people have entered. Rozov clearly paints a picture in which he shows that brother Alyosha does not give up and believes that one can only go through all the trials "hand in hand." The play was directed by Tatiana Rozova.
When: November 6
Where: New Moscow Drama Theater
Price: 500 rubles

When they say now that the fashion for Dostoevsky began in cinema with the light hand of Vladimir Bortko, who made an excellent film adaptation of The Idiot, they somehow forget that at the beginning of the 20th century on the stage of the Moscow Art theater there were performances "The Brothers Karamazov" and "Demons", which caused a storm of contradictory reviews.

Maxim Gorky was a categorical opponent of Dostoevsky's theatrical interpretations. In 1913, he declared: "Undeniable and undoubtedly: Dostoevsky is a genius, but this is our evil genius. He felt amazingly deeply, understood and with pleasure depicted two diseases brought up in his Russian ugly story, a hard and offensive life: the sadistic cruelty in everything of a disappointed nihilist and - its opposite - the masochism of a downtrodden, intimidated being, capable of enjoying his suffering, not without gloating, however, posing as him in front of everyone and in front of himself. He was beaten mercilessly, which he boasts of ... Dostoevsky - himself a great tormentor and a man of a sick conscience - loved to write precisely this dark, confused, disgusting soul ... It's time to think about how this lake of poison will affect the health of future generations. After "The Brothers Karamazov" the Art Theater staged "Demons" - a work even more sad and painful ... I offer everyone spiritually healthy people, to everyone who understands the need to improve Russian life - to protest against the staging of Dostoevsky's works on the stage of theaters ... "

Art Theater actors responded to the writer collective letter, in which they rejected his claims to the staging of Dostoevsky's novel. The play "Demons" after 107 rehearsals was staged by Vladimir Nemirovich-Danchenko and was performed 45 times.

Despite the fact that Dostoevsky was skeptical about the attempt to rework his works for the stage, Dostoevsky's theater exists both in our country and abroad. Since 1992, Russia has hosted International festival chamber performances based on the works of F.M.Dostoevsky with the aim of sharing experience of stage embodiment and understanding the literary heritage of the great Russian writer.

The organizers of the festival are Federal agency on culture and cinematography Russian Federation, Committee of Culture and Tourism of the Novgorod Region, Novgorod Academic Drama Theater named after F. M. Dostoevsky. Among the festival participants in different years there were famous bands from Moscow, St. Petersburg, Omsk, Arkhangelsk, Tver, Smolensk, Ryazan, Veliky Novgorod, Japan, Finland, Serbia, Ukraine, Belarus. The festival featured premiere and legendary performances, compositions that fully represent the academic literary heritage FM Dostoevsky, as well as performances based on the facts of the biography of the writer. In 1996, the festival received the status of International, and since 2001 in Staraya Russa it is held annually. [See: 24].

Marina Brusnikina, director of the Moscow Art Theater. Chekhov, explains his interest in the works of Dostoevsky: “Everything that is connected with Dostoevsky is infinitely interesting to me. I discovered this writer quite late. And I must say, when this happened, I realized that you just need to force all people to read this author, and complete collection essays. Because there is an amazing accumulation effect. You begin to feel compassion for people, for problems, for human troubles. Especially in our time, when we live completely differently: we do not want to think, hear about problems, about bad things. We all strive to be happy people... And Dostoevsky does something incredible with his soul. It seems to me that if young people read Dostoevsky in a large number then it will be difficult for them to grow up bad people» .

They stage a lot according to Dostoevsky, it is impossible to name all the productions, it is impossible to recall all the directors within the framework of one work. Therefore, it is worth paying attention not only and not so much to the classical productions of Dostoevsky's works, which strictly follow the plot. We are interested in an unusual look at Dostoevsky, the director's vision of his works.

As Nemirovich-Danchenko noted, Dostoevsky always "wrote like a novelist, but felt like a playwright." The writer did not write a single play, but modern theater it is impossible to imagine without Dostoevsky. They put him best directors- Boris Livanov, Yuri Lyubimov, Georgy Tovstonogov, Anatoly Efros. Dostoevsky is being staged to this day.

Now only in Moscow theaters go a dozen plays based on Dostoevsky. And more and more of them are unusual interpretations, sometimes reaching the point of shocking. One of the loudest premieres was The Ridiculous Poem, in which the Grand Inquisitor from the Brothers Karamazov appears on the stage. The director of the play, Kama Ginkas, brought the action from medieval Spain to our days, to the bottom modern world- with his homeless people and thelemania. Reading the reviews about this performance, we can draw the following conclusion: in the performance, the theater turns into a spectacle - but, according to theatrical observer Marina Gaikovich, “this is just a wrapper where the director tried to hide Dostoevsky's eternal questions. In the center of the performance by Kama Ginkas is Ivan Karamazov. He came up with, as he himself calls it, an absurd poem about the Grand Inquisitor, he asks the most tragic and damnable questions, and brother Alyosha is silent. And it seems that there is no way out, that a person is doomed, that there is no God, and everything is allowed. The play starts up unexpectedly, when the main word of Dostoevsky's novel has not yet been said. It sounds in another play - "Boys", the first production of the new theater "Studio theatrical art". This is a completely different view of Dostoevsky. Director Sergei Zhenovach took another one as a basis storyline"The Brothers Karamazov". the main idea performance - the transformation of the human soul. The high school students who poisoned Ilya Snegirev in the first scene turn out to be capable of compassion and love. "

Valery Fokin's performance "The Double" based on the novel by F.M. Dostoevsky. Petersburg captured the attention of director Valery Fokin. “Although I have been living in the city on the Neva for a year and a half, I have already felt its peculiarity. I understood that this city has its own internal code,” the director notes. And although Dostoevsky's story "The Double" has long worried the director, complex work he decided only in northern capital... One of the main characters in the story, according to Valery Fokin, is the space of St. Petersburg. This theme is clearly seen in the production of "The Double". He emphasized that he tried to show the metaphysical climate of the city of Petra in his two recent performances - "The Overcoat" and "The Inspector General". The premiere of the play by Valery Fokin took place in Alexandrinsky Theater... The opinion of the theater critic Ekaterina Efremova: “After Valery Fokin's The Double, I don't want anything anymore: neither live, nor love, nor work. One can only get discouraged. From the stage into the auditorium, such a monstrous avalanche of human pain, mental anguish and depressive spleen falls down that you involuntarily forget about everything in the world: about Petersburg, and about Dostoevsky, and about the titular adviser Golyadkin. The authors of this first transposition of Dostoevsky's Petersburg poem in stage language I would like to quote Fyodor Mikhailovich straight to his face: "Golyadkin only benefited from my spleen."

Petersburg of the artist Alexander Borovsky is menacingly alarming: mirrored walls-doors through which you can enter and exit, the reflections of the light of chandeliers, shabby walls of houses, open basement windows and geometrically regular embankments, similar to a railway track. As for Dostoevsky, then, as is known, he called himself "the real Golyadkin." During the first reading, Turgenev could barely listen to the Petersburg poem halfway through, praised it and left, evidently in a hurry somewhere, Belinsky did not hide his admiration, repeating that "only Dostoevsky could get to such amazing psychological details."

As for the amazing psychological details, Viktor Gvozditsky hardly knows any equal in them: in his interpretation, Golyadkin's life reality is very slowly and in detail transformed into a painful semblance of reality, in which a double appears (Alexey Devotchenko). Golyadkin lives with him, as they say, soul to soul: “I look at everything in exactly the same way as you” - and he is not such a “rag-man” as he wants to seem, and undoubtedly has the right in this world ( for a dignified funeral). To be honest, in the play it remains not very clear how to interpret the double: either a friend of the heart, or a mirror image, or a guardian angel. Interpretation is known to be an interpreter problem.

On the other hand, the hero of Viktor Gvozditsky was initially a little out of his mind: what is happening seems more likely to be a figment of his sick imagination. Fokine invented a very witty mise-en-scène: on the stage, like "hemispheres", there are two groups of the chorus, each of which sings in turn some musical themes... “Yes, it's the two hemispheres of the brain that are talking,” the inhabitant of the next chair joked, it's good that her sense of humor did not fail at this performance. Maybe she was right; there is no split personality, such, you know, according to the canons of a textbook on psychiatry, in this performance. On the other hand, there is a playful, mocking beginning: a complex, complex theatrical sentence, worthy of decoding at a variety of intellectual levels.

For pessimists, the director builds a luxurious ballet final scene: women in black mourning dresses - "flower beds" and with red roses in their hands (left) and men in white dress coats with green wreaths, decorated with white ribbons around their necks (right); and even the head of the department in a ceremonial uniform with gold embroidery (for some reason, without orders, it is clear that theatrical reality is still somewhat different from life) and with a white bird in his hands (undoubtedly, animals preferring the society of distraught people who do not know what they are doing). Golyadkin appears in a white straitjacket, asks: "Is there nothing reprehensible in that?" - and jumps into the stage pit, women throw roses after him, men - wreaths, either mourning or festive: either the story of a suicide is being played, or going onto the stage, or something else that is beyond my understanding.

The Double is a surprisingly postmodern work. The performance is clearly "disintegrating" in its own way. artistic speech on different languages It seems that the collective foundation of creativity, which is declared in it, in the end is not fused by a single director's will, and its components are still too eclectic. Possibly, the performance will come together in the course of time ”.

A rather unusual, in its way even a unique production was brought to Moscow in 2005 by the Perm Academic Drama Theater - a musical, literary basis for which the work of Dostoevsky "The Humiliated and the Insulted" became. Theatrical observer, journalist Alexander Zhurbin tells the following about his impressions of the performance: “ Artistic director Perm academic theater drama, Boris Milgram, willingly talks about the musical: "Vladimirskaya Square" is a unique performance. This is a true example of a Russian musical. When serious literature is translated into the language of poetry and music, the result is a fantastic musical and dramatic performance. But Dostoevsky cannot be simply sung. The story he wrote must be told in such a way that it resonates in the soul of our viewer. "Vladimirskaya Square was first published in early February this year in Perm. true love: in the spring of 2005, a performance that was positioned as "an opera for drama theater", went to the X festival of Russian theater in Marseille. Later, the touched director of the festival, famous french actor and director Richard Martin, said that "the performance" Vladimirskaya Square "was able to grab the heart of the sophisticated French audience." The musical, staged by the St. Petersburg director Vladislav Pazi, was built on contrasts: lyrical scenes alternated with scenes of stormy fun. Some scenes amazed, and even outraged by their focus on success with the Western public - a kind of stereotypical Russian gadgets: gypsies, daring booze…. All the time it was expected when on stage it will be drawn Brown bear calmly walking along the streets of the city ... But, at the same time, one thing is clear that with proper work, "Vladimirskaya Square" can become a hit performance. " According to Alexander Zhurbin, if Fyodor Mikhailovich saw the performance, he would like it. But the journalist asks the question - why, in the production of a musical that claims to be a massive success, its creators "tortured" the great work of Russian classics?

Andrzej Wajda staged the play Nikolai Stavrogin in 2004. Theatrical observer of "Vechernyaya Moskvy" Pyotr Kuzmenok, having visited the premiere of the play, shared his impressions on the pages of the newspaper: “... Nikolai Stavrogin (Vladislav Vetrov) appears from the gray-steel mist and begins the confession of his perverted soul right into the hall. At first, on his conscience was the death of the girl Matryosha, and then, in his passion for plunging into evil, he knew no restraint or mental anguish. Possessed by this demon, he subjugates the weak souls of people possessed by pride, greed and petty passions. He is the main sower and curator of devilry ...

In vain, in all her TV interviews before the premiere, Galina Borisovna Volchek warned that in Waida's performance, the audience will be immersed in the depths human psychology, recklessly setting the audience up for a meeting with impenetrable boredom. Waida's performance, in my opinion, is good precisely because he leaves all digging in the nooks and crannies of the characters' psychology behind the scenes. We already see the result - the established types of characters. Therefore, you follow their actions, actions, in the end you even begin to be interested in the plot.

Psychological types are given in the performance in a concentrated state, the essence human essence... Vaida leaves a narrow corridor for the actors - to play truthfully and exaggeratedly catchy at the same time. Therefore, the nervous tension of Elena Yakovleva, who plays Lebyadkin, burns so unpleasantly. She was given too little stage time to play madness, wisdom, obedience to fate and rebellion of the spirit. Sometimes her acting is so grotesque that it is about to become caricature. But she convinces of the authenticity, the reality of her heroine. Sergei Garmash in the role of captain Lebyadkin is magnificent - generous in colors, infectious for his sweepingness, game of cunning and sharp mind. Someone already said: well, this is a win-win hitting the actor! That's fine. Igor Kvasha - Stepan Trofimovich Verkhovensky and Tamara Degtyareva - Praskovya Ivanovna are magnificent. At the play, it becomes simply interesting to watch how masterly Kvasha makes his hero sometimes ridiculous, sometimes ridiculous, childishly helpless; how the heroine Degtyareva tries to be reasonable and strict, or suddenly falls into flirtatious resentment and senile capriciousness.

I am talking about the actors, because they more vividly reflect the peculiar eclecticism of the production. Vaida opens each episode of a large literary canvas, transformed for a stage, with its own stylistic key. The gathering of revolutionary liberals was presented by him as a mocking caricature, the scenes with Liza (Olga Drozdova) are similar to the melodrama of Indian cinema, there are everyday sketches, there are almost epic elements. This director's anti-style successfully fits into the design (scenography and costumes of Kristina Zachvatovic, wife of Andrzej Wajda): a steel-gray sky with storm clouds, flashes of dawn and dusk; a gray, plowed field without a blade of grass and a blade of grass with glimpses of puddles; screens that are carried out and arranged by "stage attendants" - their faces are hidden by hoods, and their uniforms remind of a science fiction movie about aliens.

It makes no sense to compare Waida's performance with what Dostoevsky has or with what, in our opinion, Fyodor Mikhailovich wanted to say - they still lie in different temporal and material-artistic planes. We must reckon with what I saw "Demons" great director... He saw Dostoevsky without the anguish and suffering dear to the Russian heart. And his characters are people obsessed: some with their own super ideas, some with their misfortunes and their kindness, and some with the cultivation of evil in themselves and those around them. He saw them unkind. Not what most of us want. And it turned out convincingly ”(Evening Moscow, March 22, 2004).

Another, in my opinion, the most unexpected production - Dostoevsky in puppet theater: in 2001 at the Novokuznetsk Puppet Theater the premiere of the play "Bobok" based on the story of the same name by Fyodor Dostoevsky took place. This production consolidated the fame of the "adult puppet show" for the theater. Theatrical reviewer and critic from Novokuznetsk Pyotr Kuznetsov, talking about the production, says: “The choice of this exotic piece for the puppet theater is not accidental. The basis is the thematic framework of the Kuzbass theatrical festival, dedicated to the 180th anniversary of Fyodor Mikhailovich. The story "Bobok" is known to few. Even the most devoted admirers of Dostoevsky can find this work only in the first editions of the classic's works. But so far no one has dared to make even a traditional (with live actors) staging out of the story. But for the chief director of the puppet theater Yuri Samoilov, such a production was an old dream. “The idea of ​​staging“ Bobka ”on the stage of a puppet theater was ripe for me during my years of study at theater school, 20 years ago, - recalls Yuri. - Unlike others, I do not consider this story to be plotless. Here, in my opinion, there is no philosophy typical of Dostoevsky. Everything is quite simple and straightforward. The highlight of the play is the author's exquisite humor. Nobody except Dostoevsky can joke like that. True, not all viewers understand this humor. But this does not mean at all that the performance has remained incomprehensible. We just faced the task of expressing some of the episodes of the play in the most vivid way ”. Apparently, the artists succeeded. The minute fuss, traditionally “fastened” to the beginning of the performance, was replaced by a staunch, even frightening silence. The plot is not exciting. Its outline is based on the fact that an unrecognized writer, filling the spiritual emptiness with drunkenness, ends up in purgatory, a valley between heaven and hell. There, his soul observes the communication of other inhabitants, while he himself remains behind the scenes. Several characters pass one after another in front of the spectator: the major general, the governess, the court councilor, the count, and others. All of them tell their stories from the lives they have already lived and at the same time confess their sins. Then, one by one, some go to heaven, some to hell. The appearance of each character is accompanied by the sounds of "B-Ba-Bo-B" - this is the last thing a person utters before dying. Hence the name - "Bobok". In other words, it is the one whose soul leaves the body and goes to purgatory. So, the eternal question - is there life after death - was followed by one of two possible options answer: yes. According to one of the heroes, only there one can find peace and know what truth is. For "living on earth and not lying is impossible, because life and lies are synonymous." “They will drive you crazy there,” complains another, “and they won’t make anyone smarter.” If we talk about death, then it has nothing to do with Dostoevsky, or rather his work. Otherwise, the relevance of the theses that came to us from the 19th century would not have survived: “the educated are starving, the merchants are fattening. Therefore, scholarship is of no use to anyone "or" the smartest is the one who calls himself a fool once a week. " All this is quite consistent with our era ... ".

Many directors are trying to stage Dostoevsky. Either Feature Film whether it be a performance - actors and directors present their Dostoevsky to us the way they understand him, how they see his characters, explain the psychology of their actions. What this vision pours into - a tragedy, a comedy or a farce - depends on the task that the director sets himself, on what idea he wants to bring to the fore. But, as Lev Anninsky said, “with Dostoevsky it is always like this: you go to have fun, but you find yourself at the Last Judgment”.

The creator of "The Karamazovs" and "The Idiot" is today the most important theatrical author. His works appear on stage in the most different genres- from a concert to a political farce. We have selected the loudest performances.

"Moron"

The main intrigue of December, connected with Dostoevsky, is the premiere at the Theater of Nations. Director Maxim Didenko, author of hit performances "Cavalry" (Center named after Vs. Meyerhold) and "Kharms. Myr ”(“ Gogol Center ”) staged The Idiot. Selected aesthetics - black clownery, grotesque. Foreground: the love triangle Myshkin - Nastasya Filippovna - Rogozhin. Didenko himself says that "in our world, the perception of Dostoevsky as a living ironic person has been lost." Although the stage version of the novel includes 20 characters, only four performers are involved in the play - together with Ingeborga Dapkunaite, who will play Prince Myshkin (!), Evgeny Tkachuk, Pavel Chinarev, Roman Shalyapin and Alexander Yakin will take the stage. All events will unfold in the space created by the artist Pavel Semchenko from the radical theater AKHE, which means complex video mapping and fantastic costumes await us.