Grigory Zaslavsky

The same Fokin

Other scene "Contemporary" opened the premiere of "Sineli"

"Contemporary" opened another scene. Not small, not new, but another. Unprepared passerby will be very surprised when the "Contemporary" facade known to him, a little in depth, will see the real curtain. The glass doors leading to the theater are "hiding" the brown metal curtain. Not a similar structure was built on the project at once two famous people - architect Evgenia Ass and theatrical artist Alexander Borovsky, at the same time the artist of the first play, published on the other scene, Gogol-Fokinsky "Sineli".

Inside - all the same theatrical and functional: white walls, with open, untreated joints in places of blocks of blocks, somewhere "quotes" of the brown curtain continue, somewhere - the cables and blocks are outwardly, the secret springs of theatrical machinery. The combination of white and brown, dark brown and brown metal is withstanding on all floors and in all zakulkers. Some homework is "allowed" in a single place - on the wall that adjoins the hall, where under glass - different format and non -parade photos of the Actors of the Contemporary.

The director of the investment company, which built another scene for a "contemporary", says that, equipped with the latest theatrical equipment, it costs about $ 4.5 million, and "at some point they simply stopped counting money."

On Monday, the theater first let the other scene of journalists, and already on Tuesday - played the premiere of "Shinels" in the formulation of Valery Fokina.

Galina Volchek managed to present his highly rigid concept of a new stage space, where it will be possible to experiment anything and however loudly fail, but it is impossible to appear random performances or renting it to other theaters and even the most wonderful entreprepacy. So in the near future in the poster of another scene there will be one-only "sinel".

However, the names of the nearest prime minister are known: Kirill Silventovnikov rehearses with Chulpan Hamade "Naked Pioneer" on the novel by Mikhail Kononov, staged by Ksenia Dragunskaya, another work - in the "Proprietary" stage: on the novel Gary (Azhar) will give the play famous in Moscow (it seems Even more than in Ukraine) Andriy Zholdak. For the sake of such a case, Galina Borisovna promises to interrupt his forced many years of acting silence and go on stage. According to the Volchek, Zholdak did not convince her in the correctness of his own choice and the invitation of the scandalous director in the "contemporary", but there is something in it, in her opinion, something that makes believe in the possibility of working together, and this Something, it hopes, will manifest itself in this collaboration.

Well, now - about "sinels".

At the premiere there was a real theater bond - Mark Zakharov, Oleg Yankovsky, Alla Demidov, Lyudmila Maksakova, Gyuton Kremer, etc.

When the guests finally got rushed, the light went out, and the backbone turned into a screen with a running snow. Standing in the depths of the scene of the sinel moved, began to turn around, and a small point over the collar turned his head of Bashmachkina. Putting Falda, he leaned out. Lithongy, flaky, crucible Gogol hero. It came out, I pissed, denoting all the same floor, got back.

What he does inside is unknown.

Using the pause, let's say that it's hardly the last work of Valery Fokina on the stage of the "contemporary" was just the Gogol "Auditor", which is already 20 years old. At the same time, this is the last work of Fokina with Marina Nelaova, who played there (and continues to play) Marwe Antonovna.

On the other scene, I wanted to see another foke. Especially since Fokin, recently led by Alexandrinsky Theater, on the imperial stage managed to combine his experimental talent with academic space and time - in the Gogolev "Auditor", for which the state award was awarded the past summer.

On the other scene Fokin is the same as familiar to chamber experiments. Probably one of the first and best in this "series" performances of the so-called tool theater became "Numer in the hotel of the city of NN". "Shinel" - from the series.

The program is written that the idea of \u200b\u200bthe project belongs to the famous photographer Yuri Grow. It was likely that he occurred to him that Nelova could play shmatkina. Wonderful idea! It can be seen in rare minutes, when a normal, human theater is glued through a variety of "instrumental" tricks. But approximately half of this tiny watch play Neelova is not needed. Linding the "technical" pauses filled with familiar on the previous performances of Valery Fokin the sketches and poking (the composer - Alexander Bakshi) and, it seems that for the first time who first appeared in his work in his work, some interruptions (their author is no less famous than Bakosh, Ilya Eppelbaum) , Think: Interesting, Yankovsky, Maksakova, Demidova or Quasha would like to be in place Neelan? In short, to what extent such work is interesting to the actor? Hard to say.

So Bashmachkin has extended on stage, sat down, hacked, took out a feather, spent them in his gray hairs - sort of happiness. Funny. He began to circle again - and these pauses are no longer Baksh, but in the hall they begin to rip and pock.

Coming overcoat new and pulls hands to the shoe, then you mean the sleeves. By swears. The hall comes to life.

Neelova - unpredictable, despite the fact that you know it for a long time. And from the same time - you love. The eyes, what no one else has anyone. Expressive lunizing, fright in front of the metaphysical and transcendental phenomenon of the new overcoat, which first swears past, then approaches, hugs, and Bashmachkin turns the barrel, and then the cooler gently takes the hero on hand.

Whether he tames the chinel, or she.

- Why do you offend me?

The big actor is unpredictable, technique and directing "interventions" in his game, unfortunately, predictable.

Slender rows are dressed in the Black Musicians of the Ensemble "Sirin", like those dead people, which was frightened to the public in the memorable "numer ...". The current - not frighten. And do not worry at all.

Window openings opened - they will certainly close the root. Waiting for habchanets. Babakhno.

In the final in the belated on the floor, the old Shinel Bashmachkin will fall as in the coffin. Who would doubt that.

After that, on a translucent handset, water begins to rise, from the floor itself to the ceiling itself, denoting the concrete horrors of the St. Petersburg flood and the vanity of all things.

VM, October 6, 2004

Olga Fuks

Marina Neelova played Akakia Akakievich

Yesterday the performance of Valery Fokin Theater "Contemporary" opened the "other scene"

Almost any self-respecting theater has a small scene - space for searching, experiments, "close-ups", the illusions of complete unity with the auditorium. Somewhere, without being causing slyly, they are called small. Somewhere invent the names (mostly "geographical", as if not claiming a special program) - "under the roof", "the attic of satire" or "on the fifth floor". The latter is just in the "contemporary" and it is famous primarily by the fact that once Valery Fokin put here Shakespeare and Dostoevsky with Konstantin Raykin, Elena Koreneva and Avangard Leontyev - performances, events, despite the small number of spectators spectators, performances Revelation.

It is not surprising that another scene of the contemporary opened by Valery Fokina, who scored the team, what is called, without refusing to himself: Universally brilliant Marina Neelova in the role of Bashmachkina, the most famous "Shadneik", Khmukruk Puppet Theater "Shadow" Ilya Eppelbaum, artist Alexander Borovsky, choreographer Sergey Gritsay, composer Alexander Bakshi and singers Ensemble "Sirin". It is necessary to call them all (by the way, the performance was created jointly with the center of me. Meyerhold), because the inflammation-ingenious Gogol text ("ripple on water" by definition of the Nabokova) was almost completely translated into scene languages \u200b\u200b(plastic, mysticism, theater of shadows and sounds) "Whether it's white nights of St. Petersburg, the striking of the sewing machine or the absolute harmony, which agoned in the soul of Akakia Akakievich, when he sat down for rewriting letters. Direct speech at Gogol - several phrases: only they sound in the performance.

The work of Ilya Eppelbaum will probably provoke future experts of any solid theater award invent a new nomination for the shadow theater. Barefoot Tailor Petrovich's heel on the pedals of a sewing machine, which grows up to the scale of the fifth, linen or tombstone, elegant table setting, the prospects for the St. Petersburg streets or the final flood, flushing the orphaned sequel, - this shadow graphics is above all praise.

Praphrazing the housing "All we left Gogol" Sintels ", it can be said that the Fokinsky" Shinel "came out of St. Petersburg - Ghost Cities, Glamor Cities, Killer Cities (from here - the final bow to Pushkin Copper Horseman). Projection of the falling Light of soft snow lantern in the prologue gradually leads to a sristened dizziness, exactly, you do a slowdown alone in the open space. In the midst of this snowy, the silhouette of the sheel is discovered, and over the collar is a small wrinkled head of an intimate creature. The chinel gives him warm, peace and elevates in his own Eyes

(All this is played literally). In the overcoat it is junny, it is mad, smoking, with its letters and even wipes the legs before, so to speak, aspiration in the chinel. From there, the bullet's creature rushes into the department, tapping with stop heels with some kind of syncous rhythm, painfully comes to itself after the running around the city, carefully - precisely the violin of Stradivari - removes the goose pen from the sinus, it combines gray down on the head ... and Letters become in the brain of Bashmachkina into a slim round dance and sink like paradise birds.

Grim ("hemorrhoidal complexion"), a wig (ovoid lycin-gray), a baggy fracture (one of the moments - the fracture of the conductor in front of an invisible, but frantic orchestra of letters), the gait of the semi-united grasshopper make Marina Neelov absolutely unrecognizable. Only a few scenes allow you to know her unique manner. When her voice sounds with a plaintive threat of an offended child. Or when the new chinel hugs her on male, in one way, as no one has ever hugged her shimatkin, and he (a) pours to the overcoat physically, and - in the eyes it can be seen - to believe his happiness does not dare. But in the bitterness of the loss will believe immediately, like a blow to nap. Neelova - the ideal actress in any director (at least, she did not give the opposite reel), and for Fokin, it is an ideal obedient actress, who exactly embodying his design is a gutta-perfic phantom of a terrible beauties-Petersburg. But it's hardly for the first time in the history of the theater, the main acting person in the "Sinels" is not Bashmachkin, but St. Petersburg.

New Izvestia, October 6, 2004

Olga Yehushin

Neelova - Bashmushkin

The famous actress tried on a new scene of the "contemporary" Gogol "Shinel"

His new hall, named after the scene, the Theater "Contemporary" opened the play "Shinel" Valery Fokina, once starting his director's path in this theater. The most unusual thing is that the main and only role - Akakia Akakievich Bashmushchina - played the famous Marina Neelova.

"I am interested in the border between real and unreal," Fokin himself defines its directorial method. - This is a state of consciousness that is difficult to formulate words. This is not a sleepy state and not a narcotic. I am interested in this middle when the dream has not yet ended, and already the dawn comes. " The obsessive sounds, ripped rhythm, games of items pursuing the heroes - all these branded techniques of the Fokin theater are easily identifiable in the new production of "Sintel" Gogol. Stopping rehearsals, the director categorically stated: "To dig in the unfortunate history of the official, whose colleagues was raised, I do not want." All household details remained behind the brackets, so lovingly discharged by Gahol. Let's say a description of the choice of the name of the hero, when the parent ranges between the mobby, a jigsaw, a cozdapass, trophile, donula and Varakhasiya, before calling the Son to Father Akakiya Akakievich. Colleagues in the department and tailor Petrovich have fallen out and forgotten with his round tobacco and wife, bearing cap. The director of the old woman and the mistress and a significant person, confused by the general rank, were not interested. In a word, all those features, details and details that are actually a Gogol Humor and life, originality and a dog, the director was crossed out and discarded. On the stage there is a plastic back, on which the projector draws a dance of white snowflakes (artist Alexander Borovsky). The characters remained the otherworldly voices. And the shadow paintings made by Ilya Epelbaum (tailor Petrovich depicts a giant shadow of a sewing machine, and a very important person - a silhouette of the palace). Finally, black figures depicting infernal forces in dozens of metropolitan performances are scene.

In Gogol prose, the director is predominantly interested in the features that relate him to Andrei White: a phantasmagoric, empty, worker Petersburg, in which the character without sex is sinking and is lost. Not really a person, but a certain incomprehensible being. Marina Neelova plays him.

On an empty scene, in front of a shredder, the monument is a giant chinel. A small seamless head with a touching gorge-haired hat appears from the huge gate. Outlined cheeks, sharp ears, slightly rolled nose and round eyes. Gradually, a stranger figure in an old baggy of Vitamundire is released from the folds of the fabric. Long silently inspecting, it is satisfied. Taking the goose feather, rolls eyes. And a thin voice begins to do this: "Mi-and-and-pilot sovereign!". Marina Neelova is absolutely unrecognizable in Bashmachkin. Other hands are dry, fussy. Other eyes are small, round, faded. There is no masterpiece of griming art. And the present acting magic of transformation. The crossed voice with some void intonations of Cheburashka, an incomprehensible creature, which is unknown where in the disposal of invisible forces. "Why do you offend me?" - It has not been drawn to specific people (there are no them on the scene). This unfortunate scored official with a feature in his hands does the same universe.

Valery Fokin left in the play Small islands of the textbook text among the long plastic etudes of Bashmachkina and its stakes.

The old shelter-shelter was gently hid in his depths of the owner. The new Sinel - Cavaler Shinel, the seducer Shinel - Swam's scene victims, easily hugs Akakia Akakievich, firmly gives him a hand to be leaned. And then fantastic projects appear in the seitue head: But you can walk along the embankment ... And even to the palace ... Voice in fright is born, Bashmachkin is examined on the sides - did not hear who winsted dreams?! But the happy romance with a cinema ends with a disaster. And here, as the animal in Nora, this shchekkin is crawling into his old fur coat, which will become his coffin. And the voice will explain from above that "Petersburg remained without Akakia Akakievich, as if he had never been in him." For Fokin, heaven is to blame for the death of Bashmachkina, so the entire Gogol history of the avenger is crossed out. The performance breaks down on the half, leaving a feeling of a bold experiment, approaches some great work. And in it, maybe interest in space is somewhat with interest in people, and dreams will be sake of reality.

Results, October 12, 2004

Alla Shenderova

Homo Shineelius

The play of Valery Fokina with Marina Nelaova as Akakia Akakievich Theater "Contemporary" opened his other scene

"Sintel" the fate of all noisy projects. She is so originally conceived, there were so many about her and happy participants who pre-anticipate something extraordinary in advance.

At first, the spectacle not only does not deceive, but also surpasses all the expectations: a small bald nape with beams of gray hair hatching from a huge two-meter overcoat, then a wrinkled face with whitelish treated eyes is turned around - not Marina Neelova, and the triumph of acting reincarnation, multiplied by the masterpiece of make-up art.

The strange music of Alexander Bakshi in the exquisite execution of the Ensemble "Sirin", designed by Alexander Borovsky, the space flickes the flicker and overflows with all the shades of gray, and the sinister Petersburger shadows invented by Ilya Eptelbaum flashed on the highlighted screen. In a word, the best forces of the modern theater demonstrate the wealth of their capabilities. No difference is everything in a strict ensemble. Prima of this ensemble - Marina Neelova. Its external drawing is virtuoso as a ballet party: every movement has been developed, each gesture of the handle or legs, each voice modulation and two honed grimas - dignity and horror.

The first few minutes greedily look at this amazing world, where there is not theatrical, and truly melting snow, where a human moth inchings live in overcoats - a coming character of the genius cartoon Norstein. And then suddenly the indifference comes.

It happens in childhood, when long and painstakingly equip the puppet dwelling, seeking everything to be "truly": puppet forks and spoons, doll floor lamp. And finally, the house is finished. We are satisfied with all the little things and ... Have disappointment: what to do with this Mircoma on, how to make it ride?!

No "Further" Fokin did not come up - apparently, too fascinated by the exhaustion of the details. Pupa Akaki Akakievich, following the scene, spooking several phrases, begging the formidable shadow of the tailor to repair the old chinel, sitting on the chair and falls asleep. Adorable letters are danced on the screen, folding in the cherished word "chinel". But the hall is tired of touching and indifferently looks like, as herself is a new chinel, another majestic than the former and obviously female kind - first, the coquettiously dies from Akakia Akakievich, then graciously gives him a sleeve and regally impart into his cozy clutch.

On the face of Nelova, all the same grimski is replaced as first. It seems that the director challenged it into such a tough external score that the viewer could not feel anything, whether his character is happening inside. And therefore, the hall is like Bashmachkina immersed in some kind of vegetable hibernation.

It is strange, however, it comes out: when Akaki Akakievich, returning from the tailor, the taubets his proceeded chinel - her, "sick", lying on the stage dead cargo, sorry. But when the sinister shadow is torn in the screen, the Bashmachkin is frowning to them: "I am your brother!", And after, as in the coffin, it fits into the old sinel and, shrilling, silent, subsides, - you feel as much emotions as if Your eyes climbed mole.

Who knows him why, but the Gogol "Shinel" joked over Fokin as well as Abakiya Akakievich: Annoyl, seized and sailed.

Culture, October 14, 2004

Natalia Kaminskaya

Model "Unisex"

"Shinel". Other scene of the theater contemporary

Premuning the premiere, the producer of the play Valery Fokin noted in an interview: "Marina Neelova can play anyone, even Akakia Akakievich." Who would doubt that! The male list of Neelan's roles opened not shutter, but by the Count of Nulin, who she was readily read - played by the TV version director Kama Ginkas. In general, this idea is to give one of the most distinctive actresses of our time to play the hero of the very thing, from which, according to Dostoevsky, everyone who followed the Russian writers who had been gogol, "seemed grand. And with all the originality completely logical. In the gift of Nelova there is a fragile humanity, the subject of insecurity, causing a piercing compassion, is its topic. The ability to instant transformation, fearless readiness to change the appearance, not be afraid to be unrecognizable and ugly - also its property.

The play of Valery Fokina "Sinel" opened in the theater contemporary "Other scene", stylish, super-modern, transforming space, the type responsible for the experiment or, at least to unconventional forms of theatrical statement. In the future, Chulpan Hamatov is promised here, and then even Galina Wolchek, whose acting hat, we have not seen a long time and will wait for it with a special impatience. For those who know the actress of wolf know what the highest class is.

In general, it turns out that the "other scene", chamber in size, thinks with its epicenter, a large acting, placed in "new forms". But is it really about the foci "sinels"? I'm afraid they are quite the opposite. Much a lot of shape, a whole performance can be made up of these forms. The work of the artist Alexander Borovsky has a full-fledged visual essay. The back is acting as a screen of the shadow theater. The giant silhouettes of the sewing machine "Singer" are swimming-floating, and the barefoot feet of the tailor Petrovich is cheeky taking on a carved pedal. Transparent quarters of St. Petersburg are moving. Cylinders, pieces, bottles and winery are jumping - the participants of the most ill-faced party, returning from which the poor fellow Bashmachkin lost his new sheel. Shinel (and naturally, two: the first redhead and dranny, the second black and gorgeous) marching in the frames alone, which is some kind of semantic variation of the nose of Major Kovalev. Everything is clear - fetish, meaning of being, the limit of dreams. Not a poor Akakaya price of starvation and stagnation revealed it with Petrovich on the light of God, and she disposes his tiny life. However, and death. Inside the old, redhead - some kind of frame, thanks to which you can dive into the matter, as in a small home, raise a bald head over its mighty shoulders, turn into the foot of the foot and, finally, to lie down in her house. For a short (about an hour), the performance of a small titular adviser is constantly surrounded by large, distorted objects and unknown sounds - then terrible cotton and blows, then the "human prayer and horse top", then some kind of choral (music Alexander Baksh). Who will say that all this is not the figurative world of Nikolai Vasilyevich Gogol, let him throw a stone in me. But who will say that the horses do not eat Oats, and the Volga does not fall into the Caspian Sea?

And now I will imagine a completely different theater: old-fashioned, patriarchal, not advanced. On a huge scene - gloomy vaults of St. Petersburg, dark glow, dull light. And howls the evil wind, and wool flakes fall and so on, and the like. And in the center is a large artist, playing an unfortunate titular adviser and squeezing from the eye of the viewer noble tears of compassion. Say, in general place? Sure. But what has changed in the performance of V.Fokina compared to him? Just new technologies changed old. The contrast between the poor, but still personal, individual Mircoma Bashmachkina and hostile to him the bulk of the big world remained the same straightforward. And the point here is not at all as the work of the scenograph, worthy of all silence, but in the plan of the director.

Say, the case, in the end, in the artist playing Bashmushkina? That's it. In the artist, there should be a whole thing! In Marina Nelova, who is capable of literally to unwind the soul inside out. And if in a cold, to a millimeter of a graphically verified directorial design for this, it would be a worthy place, oh, what a grand Akaki Akakievich grandiose! This is a small, subtle face with children's eyes. These handles, folded in a pinch, as if accustomed to pick up, collect on a crumb. This gait - with cropped knees, with the licking of the shoes, as if fastened and moving from the legs. This dreamy immersion in the rewriting of stationery - Nelova plays these scenes as if he was not a goose feather in her hands, but a painter brush. This immersion in yourself, this state of a snail, who looks out of the sink ... Of course, on the site of the neo-no one (or other) would play in such a performance worse. And yet there is some kind of ... Multiplication. The artist drew, the actor voiced. By the way, the material for "sounding" V.Fokin left the actress at least. It is known that the timid Akaki Akakievich used to unsubscribe phrases: "My sequel ... Togo ..." However, Neelan is proposed not to speak almost and at all, but for the majority to publish some sounds that resemble a bone speech.

"Shinel" in the contemporary clearly sewed on the actress Marina Neelov. But the model turned out universal. And you can't even say that she is from someone else's shoulder. Since this chinel is able to completely autonomously walk along the scene, whose warm human shoulder shoulder should have anything.

Izvestia, October 6, 2004

Arthur Solomonov

Worse than loneliness

Marina Neelova plays Bashmachkina

The premiere of "Sintel" in the theater "Contemporary" may be the most long-awaited this season. To see Neelov in the role of Bashmachkina, not only fans of the actress, but all who are not interested in the theater wanted. This performance "Contemporary" opens the "Other Scene", and Valery Fokin performs his dream: to put "Shinel" he wanted a long time ago. However, the fans of Neelan is better to go to the "chinel" with some fear: the actress in this role is completely unrecognizable.

Silence, snow. The chinel is in the center of the scene as the throne. It is gluing from it, the gray head hatches. No, this, of course, is not Neelova. Whether the old man who is several centuries, or the house, or the rustic stump. Bashmachkin appears from the sheel and returns: it is Lono, and the coffin. It seems the head is moving separately from the body, travels over the overcoats - from top to bottom, up again. Tiny painful eyes are not yet open. The creature sniffs. Then it will open his eyes, try to see, hear, speak. Nothing will work.

And around Petersburg, terrible, gorgeous, who is not doing to Bashmachkina, which is awkwardly combed with a goose feather, with difficulty adds sounds to words, and words in the sentence. "My Mi-Mi-Sleaving Sovereign," it bleats. Happened. But more often, muttering: "E-oh-y". Petersburg - in the game of Shadows: Here Bashkin bought a new chinel, and the silhouettes of the gland, candlestick, jug switched on the white wall. Joy, music. Petersburg - in the Grozny vote of the head, carried from somewhere on top. To him, as to God, howling his eyes up, drawn Bashmachkin. Petersburg - in the violence of shadows, the Lords in Camzoles and hats over a lucky one in the sheel. In the sound of shocks, moans, my chinelle! "

It seems that our viewer enhances melancholy on the actor, according to powerful and passionate acting work. No one has long been saying - go and look at such an actor. They advise going to directors.

Marina Neelova will certainly have a great success in the role of Bashmachkina. It is well known that almost all the great roles are written for actors - men: to ask from the scene "to be or not to be?" - They are prerogative. Therefore, it happens that major actresses play male roles: this was done, for example, Sarah Bernard, playing Hamlet. However, Bashmachkin has never been considered a lounge piece for actors: the choice of a woman on this role is due to the fact that in the character created by the Fokin structure, the character had to lose all the signs - not only sex, but also social, and anything, to become a symbol of absolute loneliness. This is not a small person, not big and not even medium: it seems sometimes that this is not a man at all.

The performance turned out to be less than I would like, "human" - about "too human" I do not stutter. However, it was quite possible to wait for such Gogol from the anti-second foke, which, as Rosanov, "Masks and Hari, instead of persons argued."

Valery Fokin, methodically and persistently examining in his performances subconscious and otherworked, set, perhaps one of his best performances. Mystic graphic, metaphors are powerful and understandable. Nothing superfluous, absolute knowledge of your capabilities, ownership of skill: there is something to look around young directors, so hard and sometimes annoyingly spreading their finds and finds. In this performance, artistic asceticism and a sense of measure. And Gogol, and Neelova, and the director - no one suffered: happy symbiosis.

What lives on the scene Bashmachkin is worse than loneliness. This is rather an impossible attempt to live, the impossibility of "believing". And, if you judge the work according to his laws, there is no contradiction between the idea and the embodiment, Fokin shows us that Gogol, who is close to him.

It is no coincidence that the posthumous history of Akakia Akakievich, described by Gogol, is not in the performance. This world is already "other", Akaki Akakievich - already a ghost.

On the stage, it is elevated, mumbling, hugs with a coin of a creature, not yet born, just scratching in the door of life. Or - long dead, boring mummy. And to compare her, love or regret - it does not work. At least with me. When it says: "I am your brother," you involuntarily think: what is it for me "brother"? And then the viewer becomes agreed with those Petersburg officials, with snowy and cold Petersburg, who did not notice Akakia Akakievich. And damn (not in the article about Gogol, be remembered) knows what the problem is here - in the director or in public. As one of the heroes of Dostoevsky said, "the person's face sometimes prevents him from loved by inexperienced in love love."

Petersburg Theater Magazine, No. 39, February 2005

Christina Matvienko

Change of participation

N. Gogol. "Shinel". Theater "Contemporary", another scene. Director Valery Fokin, Artist Alexander Borovsky

On an empty tablet stands chair. A shapeless coin robe is thrown on top, the gray severity of which is clearly a secret. What - it becomes clear after a short and expressive pause, with which, as with such as applications, the performance will begin about the Gogol coinel and its modest inhabitant.

Valery Fokin, along with Marina Nelaova, composed such a clear and convex choreography in his expressiveness, which is the invalid comparison with the Dramblet - the first thing that comes to mind. Of course, repeatedly described rhymes with the animation of Yuri Norstein are also a legitimate comparison. But this is mainly the merit of the artist, licked instead of the back to the stage, a vertical computer screen, along which the endless circle of gray, white snowflakes spinning, develops into fantastic paintings a unclear Maorevo. Vortices, dust, space. Petersburg finally - in the usual winter evening.

Ballet accuracy of the Neelan and the director are obvious. Appearing for the first time from the cutout of the huge, grotesque sizes of the cooler, the actress affects the imagination of the resulting change. From beauty with a plump, as if a cracked mouth, who had been fascinating the Soviet cinema with his feeling, was made by an eulcher's disarm in the egg-shaped wig and with the painted artist-make-up wrinkle. In a word, an attraction. About the bitter fate of Akakia Akakiyevich such magic is not that make you forget, but somehow move it to the side.

Further, the entire short honed performance of Neelova will spend his freak through the most amazing metamorphosis - and each will be brilliant, clownish in essence, number. What, in general, is not deprived of meaning - Nelova deliberately makes Bashmachkina look like chaplin: feet feedback in huge shoes and deft treatment of a cane. Instead of canes at Bashmachkina Feather. Create a creation to yourself, then in the air, then on paper, sighing and mumbling the words of the message to "Your Welfare", and in the ringing silence of the performance, broken only by the choirs of the Sirin group, this purity looks like a sample of acting self-safeness. In the "Sineli" Character Marina Neelan how terrible, so and pitiful. And in the actress, equally self-sacrifice and high love for yourself.

Even the final voluntary swamp in the coffin - they will be the same sinel, which is animated, which produces a comic and awesome effect at the same time, is a kind of attraction. Beautiful, of course, impressive, and in meaning is correct, logical. The cockties - and Bashmushkin, who quickly passed all nine circles of hell in the dynamic performance of Fokin, dies. The darkness and clocking chant crowned this spectacular life and death of Gogolian ґhero.

The play "Shinel" of the Iron and Effectant in every gesture. Thanks to the actress, ecstaticly existing in smart and clear director, he is in his own passion. But what is strange, and maybe legally. Where Animator Norstein truly touches his humanity - even if the case applies to the hedgehog in the fog, not to mention the old man and his sea, the theater loses. In a small and comfortable space, just rebuilt another scene (the appearance of another theatrical space, a hurry, quite in Europe, cannot but rejoice) some other story is played. Hero in her Bashmachkin, text - Gogol, and the story is another. She to face the public sitting in the hall, a ticket to which is a thousand rubles. But here she does not go to the "sinel". There all these poor were, and Gogol so cruelly describes the burden of her hero, which, in general, is not ashamed to write about money.

Motivation change - the thing is not the last. Social poverty is important for Gogol too. Bashmushkina Oh, as interest, where to get seventy rubles. Amazing thing Art: The hall is ready to grow out when the hero of Marina Neelan is amazed, childishly asks asks - where he still gets the same seventy, on the tires missing. Surprisingly, the other - the Russian theater today is most interested in how the current shchekkins live. This is our main difference from today's European theater, that's offensive.

But in the Moscow Hall warm, and in St. Petersburg wet and cold. There without sane.

Ticket price:
Parter 950-1450 rubles

Director and insignment author - Anton Kovalenko
Scenography and costumes - Oleg Golovko
Light artist - Maria Belozersheva
Music design - Alena Khovanskaya, Sergey Egorov, Anton Kovalenko
Balletmaster - Oleg Glushkov
Assistant Director - Natalia Koltsova, Lyudmila Sushkova

Existing persons and performers:
Akaki Akakievich Bashmachkin -
Hostess in the apartment Bashmachkina; Grigory Petrovich's wife -
Grigory Petrovich; Baocker -
Officials - Valery Malinin,

Mkhatovskaya "Shinel", delivered by the young director Anton Kovalenko, is really the drag of the Gogol work, without any deviations from the text. Moreover, the connoisseurs of creativity will find all familiar parts in the performance, which constitute the indescribable flavor of the Great Literary Work.

"Shinel" is the story of a small man, speaking in modern language, a simple office employee. In the performance, by the way, no hints are left for modernity. And the details of the costumes, and interior items - everything tells us about Gogol times. According to the director, the "Shinel" and does not need any artificial alerting.

Juicy and colorful Gogol style, its colorful language, the original metaphoricity is moved to the setting intact. Moreover, the director emphasizes them in every way, allowing the viewer to fully enjoy them. Akakia Akakievich Bashmachina's role performs Avangard Leontiev, revealing the new faces of this image - such a friend, not aging over the years and does not cease to touch human hearts.

The duration of the performance of the sequel is one and a half hours. The intermission is missing.

Schinel play - video

On our site you can purchase tickets to the MHT Chekhov Theater at a favorable value and with free shipping in Moscow. Want to spend an unforgettable evening in the theater? Take care of the purchase of tickets in advance.

"Shinel" is one of the oldest performances of the contemporary theater. It was put on the famous product of N. V. Gogol by the director Valery Fokin. However, the performance is full of surprises and goes beyond the framework of the textbook version. In the play "Shinel" in Moscow, the viewer will be able to look at the Gogol character with other eyes and see absolutely new features in his character.

The play "Shinel": the revival of the classics in a new reading

For the first time, the show "Shinel" on the "other scene" of the contemporary showed in 2004. The formulation of Valery Fokina is pretty consuming and struck the metropolitan public an extraordinary approach to the classical work.

First of all, a surprise was the reincarnation of the famous and brilliant actress Marina Nelaova, who did not play anyone in this formulation, and the Gogol's "Little Man" Akakia Akakievich Bashmachkin.

Its role in the play "Shinel" in the contemporary is characterized by heartbreaking reincarnation. And it's not in makeup and costumes, but in an amazing immersion in the role of the actress. A woman plays a male role - this is something new for a contemporary.

The performance of Fokin moved to our time. Bashmushkin - not an attractive "little man", which they do not notice the surrounding. To draw attention to yourself, he orders in a sewing chic chinel.

But can the rich wrapper change the life of the hero? Shinel 2019 will again defeat the imagination of the public and will make it think over many relevant and vital issues.

Performance "Shinel" on a completely new scene

The "other scene" of the contemporary is a radically another hall with innovative technologies and a mass of technical capabilities. The performance is filled with incredible dynamics. On a huge screen, located in the background, in front of the audience, the "live" pictures: the quarters of St. Petersburg, the head of the "Singer", phraki, cylinders, giant silhouettes.

All this visual charm is competed by the beautiful music of the composer Alexander Bakshi. The general plan of the director made it possible to realize the most complex idea. Marina Neelova masterfully reincarnated and in just an hour, during which the performance lasts, time to play and quiet happiness, and the understanding of the windiness of the house-overcoat, and the wild horror of the need to build a new home. And by the end of the statement, the viewer clearly realizes that the unbridled emotions and sincere feelings are always torn even over the most calculating reason.

How to buy tickets to "Shinel" in the theater contemporary

If you want to see the famous Gogol Plot in a new reading and a modern ideological frame, you need to buy tickets for Shinel in advance. In our agency you can do it without difficulty:

• go to the site;
• select the performance and decide on places in the visual hall;
• pay for an online order.

Our site is the most convenient and modern resource with an intuitive interface and active professional information support. You can order tickets for the play "Shinel" with delivery in Moscow and St. Petersburg, take advantage of discounts for companies more than 10 people, get comprehensive information about this or other events. Do not deny yourself the pleasure of seeing absolutely unlikely on the textbook "shinel" performance and enjoy the magnificent game of Marina Neelan.

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The compilation "Mirgorod" was largely a continuation of the first - "Evening on the farm near the Dikanka." This refers to the subject matter. So, the writer develops here the same topics: the life and life of the Ukrainian peasants and the Cossacks ("Viy", "Taras Bulba"), the lifetime of a small nobility ("Starlavetsky landowners", "The story about how Ivan Ivanovich quarreered with Ivan Nikiforovich") . In the manner of Gogol, the desire for a bright description of the paintings of the Ukrainian nature is preserved. The reader finds here the elements of fiction, purely Gogol flavored Ironic humor. Giving a collection of "Mirgorod" the subtitle "Tale, which serve the continuation of the" nights on the farm near the Dikanka ", the author as if emphasized their relationship. But at the same time, Mirgorod is significantly different from the "nights on the farm near Dikanka." The third collection of stories testifies that in the work of Gogol, the realistic method of the image of reality, which came to replace the romanticism of "evenings on the farm ...". The story of "Mirgorod" reflects life in typical characters, having met in them the most significant with social and psychological points of view. These are Khoma Brut and Sotnik ("Viya"), Athanasius Ivanovich and Pulcheria Ivanovna ("Starosvetsky landowners"), Ivan Ivanovich and Ivan Nikiforovich ("The story about how Ivan Ivanovich quarreled with Ivan Nikiforovich"). Fantasy in Mirgorod (the story "Viy") is not an end in itself, but serves as a means of expressing vital circumstances and characters: so, unclean forces in the lead "Viy" are in submission of the aristocratic top of the village and oppose the people. He undergoes changes in Mirgorod and Gogol Humor. He becomes sharper, sharper, often goes to Satira. It is here that the humor of Gogol begins to sound like "Laugh through tears", indicating a deep understanding by the writer of the essence of the contradictions surrounding his reality. The writer sees that life contrasts are not accidental, but have a social nature. The characters of the Mirgorod landowners and officials - the generation of a certain lifefriend. The inhabitants of Mirgorod cannot go beyond the scope of this place, and this is the tragedy of their position. The stories included in this collection were first published by a separate publication, and in 1842 reissued as part of the third volume of the lifetime collection of writer's writer. A year before death, in 1851, Gogol began to prepare the second edition of his writings, but managed to prepare for print only the first volume. From the age of the collection "Mirgorod" in 1851, they were edited only by the story "Starlavetsky landowners". Four tales of the Mirgorod collection, which also consisted of two parts (two stories in each part), included: In the first part of the Taras Bulba, and the "Starvetsky landowners", in the second part - "Viy" and "Tale of How Ivan Ivanovich was quarreled with Ivan Nikiforovich. "

With exit in the 1831st "Evenings on the farm near Dikanka" Gogol becomes famous in literary circles. In St. Petersburg, this is primarily writers of the Pushkinsky environment, with whom he meets personally, is actively rewritten. Among his addresses of Plenev, Pushkin, Zhukovsky. Gogol proudly writes A. Danilevsky that "almost every evening" communicates with Pushkin and Zhukovsky. It also meets with P. A. Vyazemsky, V. F. Odoyevsky. In the next, 1832, Gogol, being traveling to his homeland in Moscow, meets M. P. Pogodeny, families of Kireevsky and Aksakov, M. N. Zagoskin, M. S. Shchepkin, M. A. Makimimovich, and . I. Dmitriev, O. M. Bajansky. Gogol is not embarrassed to fasten the acquaintance with the Patriarch of Poetry by I. I. Dmitriev, sending him a few letters in which he respectfully calls him "High-Steering" and reports his poverty. Gogol discusses the problems of literature with the joint venture. Shevyrev, N. M. Language; He is aware of the courts of courtesy, as if by becoming passing by Danilevsky about his acquaintance with Freillias S. A. Urusova and A. O. Smirnova-Rosset, calling their home names.

It was heavy for Gogol of the 1833rd, the year of unfulfilled and partially performed designs. Scheduled: "Universal history and general geography", the comedy "Vladimir third degree", the story "terrible hand", "notes of a crazy musician", "History of Ukraine", the Almans "Troinchka" (together with Pushkin and Odoevsky). Work has begun on the comedy "Grooms", the "Portrait" and "nose". The work has been completed only over the "story about how Ivan Ivanovich was quarreled with Ivan Nikiforovich", which he read Pushkin at the very end of the year.

"Soon there will be a year, as I neither stitching," Gogol complains in a letter to Maximovich in early July. And after two months, explains the reason for this in the letters will be for the same Maximovich. "What a terrible this 1833 year for me! God how many crises! Will there be a beneficial restoration for me after these devastating revolutions? How much I started as I registered how much threw! " This will be pushing - in September. In November, Maksimovich: "If you knew what terrible coups happened to me, how strongly everything inside me. God, how much I follow, how much did you rebuild! ". Gogol is looking for places in life, certainty of views and writes literally blood blood.

In 1834, Gogol articles were published in the "journal of popular education": "The plan of teaching universal history", "a look at the compilation of Malororsia", "On Malorosiysk Songs", "On Middle Ages", written Articles "Last Day Pompeii", "Life" " Gogol is actively and purposefully preparing for its lectures on history in St. Petersburg University. However, Gogol's lectures on history in St. Petersburg University, where he was defined by an adjunct professor, did not have success. Sharing the impressions of their lectures with M. Pofodin, Gogol notes that he sees every "mistake" in lectures already "in a week." And the point is not in bad preparation: he attached his lectures "artistic finish", did not meet the "revocation", "sympathy" from "sleepy listeners"; None, as he says, "student creature" does not understand him, does not listen, no "bright truth" does not fond of anyone: he reads "decisively one" "in the local university." Students - "The people are colorless, like Petersburg." And then Gogol stops the "artistic finish", begins to read "passages", while maintaining only the overall "system", and a year later leaves the university.

In 1834, Gogol's work was completed over the leaders of the "Notes of the Crazy", "Portrait", "Nevsky Prospect". In 1834, in the second part of the almanac of "Novosella" published "Tale of how Ivan Ivanovich was quarreled with Ivan Nikiforovich". By the middle of the 1830s, when the main works of Gogol were written or conceived, its principal positions were determined in relation to most humanitarian sciences and areas of activity - to history, architecture, painting, oral folk creativity, literature, even geography. He greedily absorbed information, summarizing it in various ways. In his notebooks, the most unexpected rubrics were in his notebooks: "cattle breeding", "hay", "Honor", "Fishing", etc. No wisdom, that by this time the thirty-five-year-old writer was an encyclopedically educated person.

The last cycle of the ART, compiled by Gogol from the works of 1832-1842, received from the researchers the name "Petersburg", although the last two - "stroller" and "Rome" - on topics are not "Petersburg", and the other three - "Portrait "," Notes of Crazy "and" Nevsky Prospect "- previously published in the collection" Arabesque ". In addition, the collection entered the "Nose" and "Shinel". These seven stakes were included in Gogol in the third volume of the collections of its writings of 1842. In 1842, preparing to publish a meeting of his writings, Gogol united the story of different years in the third volume, which were already published during 1834-1842 in various publications. In total, the third volume was divided by seven stakes, of which one (Rome) was not completed. They were often called Petersburg stories. Basically, these stories are devoted to the image of the life of the metropolitan nobility and officials. In the ones, Gogol sympathetically draws images of "little people" - Petersburg officials and sharply satirically depicts nobility and higher officials. The social orientation of these stories is very pronounced. That is why Belinsky called them "ripe artistic" and "distinctly crugged." Petersburg Tale links the theme of the image of the inner emptiness and the non-perity of the personality in its apparent, external, dismisted significance. The "pedagogical" "Pedagogical" "Nevsky Prospekt" "visit it in order to affect the bundlebards or a" Greek beautiful nose. " The nullity of their interests is transmitted in the same expressions that the reader will find and in the story "Nose": "Little-picking joins their society, all those who graduated from fairly important homemade sessions; Somehow: I spoke with your doctor about the weather and about a small pup of the horses and children of their own on the nose, who learned about the health of horses and children ... "and so on. In the image of the artist Piscarev, the problem of creativity was put forward by Gogol, although she was not central. The main conflict and death of Piskarez stand there outside the problem and field of art: a romantic-minded young man does not stand the collision with mud and vulneral life. But, strictly speaking, the person of another profession could be with the character and looks of life on the site of Picawarev. In this edition, the scene of the spanking and another place excluded by the writer under censorship pressure is restored in their initial versions, taking into account their subsequent editing by the writer. The spanking scene was reduced and transmitted in an allegorical, allegorical manner. A. S. Pushkin called "Nevsky Prospect" "the most complete" from the works of Gogol.

An incredible incident described by Gogol in the story "Nose" -the disappearance and return of the nose of Major Kovalev, as if again, "returns the reader to fiction" evenings ... "However, the author here does not seek to extract the reader in the authenticity of the event: he calls him" unusually strange "," incomprehensible "," supernatural ". And the "supernaturalness" of the event is not to participate in the otherworld, but in the displacement of ordinary, everyday ideas of people. In other words, the story is based on the story "Nose" lies exaggeration and grotesque as artistic means of identifying typical, real content. Indirectly, this topic is reflected in Mirgorod. Stressing the perfect braveler of Ivan Nikiforovich, the author notices: "I, I confess, I do not understand why it is so arranged that women grab us as deftly as if the kettle handle? Or their hands are so created, or our noses are no longer suitable. And even though Ivan Nikiforovich's nose was somewhat similar to the plum, but she (Agafia Fedoseevna - L. K.) grabbed him for this nose and drove it for him like a dog. " The story "Nose" echoes the "notes of the crazy" and in another plan. Showing the impersonality of a person in the official world, Gogol in the "notes of the crazy" brings closer on the primitiveness and limitedness of the thoughts and feelings of people with "thoughts" and "feelings" ... Dogs. In the story "Nose", satyric reception of animal behavior is not leading, although it fits apply. By refusing to put an ad Major Kovalev on the disappearance of the nose, the official motivates this as follows:

"... Last week ... An official came in the same way as you came now, brought a note ... And all the announcement was that the black wool poodle fled. It seems to be here? And Paskvil came out: this poodle was treasured, I do not remember some kind of institution. " In the story of the "nose" leading is the theme of loss and the observation of the external significance of the individual with its unchanged inner insignificance. Major Kovalev remained the same small and vulgar person throughout the melodramatic, fantastic history with him. In its inner insignificance, he resembles Pirogov. However, Gogol goes in his new story further: he argues that the nose of the major can exist "by itself", he is only a uniform and proper rank. Thus, despite the apparent inappropriateness, the story has a deep realistic basis: in a sharp grotesque manner, Gogol exposes the kind, careerism, insignificance of the life of officialhood and generally wealthy classes. An image of an officer, nobleman, who wants to correct their material affairs to successful marriage, was typical for that time. With great expressiveness, it was captured, for example, in the famous picture of the Russian artist P. A. Fedotova "Watching Major".

The story "Nose" has a rather complicated creative history. Required, apparently, from the anecdotes common at the time, the story with Major Kovalev in the initial editorial office, it turns out simply by his sleep. In the future, Gogol strengthened her satirical and social sound. The story was written in 1833-34 and even in her initial editorial office was rejected by the publishers of the magazine "Moscow Observer" M. P. Pofodiny and the joint venture. Shevyrev, opponents of realism in the literature. In the new edition in 1836, the story was placed in the journal A. S. Pushkin "Contemporary", which found a lot of "original" in it. In the text of the initial version of the story, as well as in the text of 1842 (with the edition of the collected works), Gogol under pressure censorship was forced to make corrections. Senior police officers (Ober-Politzmeyster) were replaced by the younger, a sharp note of the bailiff was removed, drawing out "for all obscene places", is excluded, where it is said that the private abutment takes a bribe of sugar heads, finally, the scene of explaining major with His nose was postponed from the Kazan Cathedral to the Gostiny Yard (Gogol originally intended to transfer this scene from the Orthodox to the Catholic Church). Significant changes in the preparation of a story to reprint in 1842 were ended. Gogol allocated a special final chapter, which gave a story greater harness and completion. V. G. Belinsky wrote about the last edition: "" "Nose" is arabesque, carelessly pounced by the Great Master's pencil, significantly and for the better changed in his junction. " In the final edition, irony and satirical focus of the story are strengthened. In the future, this text has been restored completely along the corned manuscript of the author. But already in her early edition, the story received a very high assessment of V. G. Belinsky, who marked the typical of her main character for those conditions of Russian reality. "Are you familiar with Major Kovalev?" He wrote. "Why did he interest you so, why does he make you an unsinkable incident with his ill-fated nose?" Because he is not Major Kovalev, but Majors Kovalev, so after acquaintance with him, at least you would have met a hundred Kovalev, - immediately learn them, distinguish between a thousand. "

Tale "Portrait" It takes a special place in the work of Gogol. This is the only one of the mistakes, and devoted to the problem of art. The first part of the story in which the main events and conflicts are deployed to the most significant processing. In the new version, the story appeared in 1842 in the magazine "Contemporary". Gogol wrote to the publisher of the magazine P. A. Pletnev in March 1842: "I send you a story to my" portrait. " She was printed in Arabesque, but you do not be afraid. Read it. You will see that only the canvas remained the same story that everything is embroidered again. In Rome, I remade her at all, or, better, wrote again, as a result of the comments made in St. Petersburg. "

Gogol means Belinsky's comments here. - However, the critic remained unhappy and the second edition of the story. It is largely right, especially in a negative assessment of the second part of the story, where Gogol interprets the essence of art from a religious point of view, considering it as a divine revelation. But Belinsky rightly claims that the big talent of Gogol is visible in this story: "" Portrait "is an unsuccessful attempt to Gogol in a fantastic kind. - he writes. "Here his talent falls, but he and in the fall remains talent." The first part of this story is impossible to read without hobbies. "

Tale "Shinel" It was programmed not only for the St. Petersburg News of Gogol, but also for the entire subsequent evolution of Russian classical literature. Gogol develops here with a huge depth and power of a "small man", put forward in the "station caulier" by A. Pushkin.

The tragedy of the titular adviser Akakia Akakievich Bashmachkina is not only that it stands on the lowest stage of the social staircase, that he is deprived of the most common human joys, but mainly that he has no glimpse of an understanding of his own terrible position. The soulless government official car turned it into an automatic. In the image of Akakia Akakievich, the idea of \u200b\u200bman and his essence turns into his opposite: it is what deprives him of normal human life - meaningless mechanical rewriting of papers, "becomes for Akakia Akakievich of life poetry. He is enjoyed from this rewriting. Countless blows of fate made Akakia Akakievich insensitive to mockery and bullying of the authorities and colleagues. And only if bullying passed all sorts of borders, Akaki Akakievich briefly says: "Leave me, why do you offend me?". And the narrator, whose voice often merges with the voice of the author, notes that other words sounded in this issue: "I'm your brother." Perhaps, not in any other story, Gogol, does not emphasize the idea of \u200b\u200bhumanism with such a force. At the same time, the sympathy of the author on the side of "small people", crushed by the severity of life. In the story, "significant persons", dignitaries and veelmes, the fault of which suffer from shimachkins, are sharply satyrically depict. The story is revealed in two events - in the acquisition and loss of Akakiya Akakiyevich Sintel. But the purchase of new overcoat them is a major event in the dim, monotonous and poor life that the sequel acquires the value of the symbol, the conditions of the very existence of Bashmachkina.

And, having lost her overcoat, he dies. "And Petersburg remained without Akakia Akakiyevich, as if he had never been in him. The creature disappeared and disappeared, by anyone not protected, it's not expensive to anyone, none of interest to anyone, who didn't even miss the attention of the natural fly, who does not miss the plant and consider it into a microscope; The creature that endorsed submissively the stationery ridicule and without any extreme affair, but for which he still was still, although in front of the end of life, a bright guest flashed in the form of a shelney, who revived a poor life ... ". During his life, Akaki Akakievich could not and threaten about any resistance or disobedience. And only after death, he appears on the streets of St. Petersburg in the form of Avenger for his explorable life. Akaki Akakievich drives his scores with a "significant face", selecting his chinel. This fantastic ending story not only does not lead from the main idea, but is its logical conclusion. Of course, Gogol is far from calling to an active protest against existing orders. But his sharply negative attitude towards them, he expressed quite definitely. "Shinel" made a huge impression on both readers and literary circles. V. G. Belinsky, who became acquainted with the story before the publication, wrote: "... new, still nowhere printed Tale" Shinel "is one of the deepest creation of Gogol." The tale "Shinel" left a deep mark in Russian literature. In the mid-1840s, there is a whole direction led by Belinsky, the name "Natural School" arises around the magazine. Turgenev, Goncharov, Herzen, Panayev, Nekrasov, Dal, and other writers made works in which the indigenous social problems of the era: the struggle breaking through the serfdom, the protection of the oppressed peasantry and a "little man". The topic "Sineli" directly continues and develops Roman F. Dostoevsky "Poor People" (1846) In the initial editorial office (1839), the story had a subtitle "Tale of an official, sneaking overweight." But as the social point is deepened, the reinforcement of the typical of the main character, the need for this subtitle disappeared. In the first edition, the hero has not yet had a name. Then he got the name Akaka (kind in Greek). Surname Tishkevich was then changed to Bashmakevich, and in the final version - Bashmushkin. After a serious refinement, the story was published in 1842 in the third volume of the collected writer's writer. Under the pressure of censorship Gogol changed some places in it. The mention of the blasphemy of Akakia Akakievich during nonsense, sharp words addressed to the General. In these publications, these places are restored. Famous Russian critic and publicist A. I. Herzen (1812-1870) called the "cooler" "with a colossal work", and the famous Russian writer F. M. Dostoevsky in a conversation with the French critic M. de Vogyu said that all Russian realist writers "Gogol got out of the" Sineles ".

Tale "Diary of a Madman". Gogol had a plan to entitle her "notes of a crazy musician", where along with the "Nevsky Avenue" and a "portrait" he wanted to portray the fate of a creative person - the topic characteristic of romantics. Having shown in the image the position of a small Russian official, Gogol, as it were, gave the problem from heaven to Earth - from romance to the social truth of realism. In subsequent reissues, the seizures were restored by the censorship: approval of the field that only nobles can write in Russia, comparing the chamber-janker with a dog with a trinor (in favor of the PSA), mention of "official fathers", which "mother, father, God will be sold for money, ambitions, Christ soldiers, "mention about the Order and the" State Emperor ". The delicious, automatic behavior of officials, satirically shown in the story "Nose", is also saved in the "notes of the crazy". Belinsky, highly appreciated the story, described it "as a mental history of the disease set out in poetic form." Poprinchin in the "notes of the crazy" is concerned that the earth can sit on the moon and crush the human noses there.

"... the moon is such a gentle ball that people cannot live in any way, and only some noses live there. And therefore, we can not see our noses, for they are all in the moon. And when I imagined that the earth is heavy and maybe, we have a noses to grind into flour, I won such anxiety that I, put on stockings and shoes, hurried to the State Council in the building in order to give the police order to prevent land to the moon".

A small story Gogol "Stroller" Allocated among other ages of Gogol. It is based on a bright case resembling a joke. However, Gogol and here acts as a big artist. The story is written not for the sake of a spectacular finale. There is a few pages in it, but the life of the county town and its inhabitants is drawn, as well as the idiot, empty life of army officers. To some extent a "stroller" echoes the "dead souls" (although it cannot be compared with them by the latitude of the image of reality). The image of the chattels can be put in a row with the images of the landowners from the poem "Dead Souls": for example, in a row with nostril, the same as the blackwhat, cute, gambler, change and liar. The "stroller" was very highly appreciated by Belinsky. He wrote that it was a "humorous essay workshop, in which more poetic life and truth than in many places of novels of other romantics ...". Theatic story is different from the age of the St. Petersburg cycle. Here the life and life of the province are depicted, and not the capital. On this basis, some researchers include a "stroller" to the Mirgorodsky rates of the cycle. In fact, the description of the southern town in the "stroller" is very similar to the description of Mirgorod in the "Tale of how Ivan Ivanovich quarreled with Ivan Nikiforovich." In addition, if we exclude a "stroller" from the third cycle of the ART, then the remaining stories ("Nevsky Prospect", "nose", "Portrait", "Shinel" and "Notes of Crazy") can be called St. Petersburg with a full basis. However, Gogol himself included the story of the third volume of the writings of 1842, along with St. Petersburg stories. This volume was completed by Gogol in prose to the "dead souls" (the last, fourth, volume included dramatic works). The story was first published separately in 1836 in the first volume of the magazine "Contemporary" published by A. S. Pushkin, who approvingly responded about her in one of his letters: "Thank you, great thanks to Gogol for his" stroller "," he wrote. Despite the "light," anecdotal nature of the story, censored seized a number of places in it, in which the writer adversely depicted officers. High rating gave a story V. G. Belinsky. He wrote: "It was put on all the ability of Gogol to grab these rare traits of society and catch these shades that everyone sees every minute about himself and which are only available for one Gogol." As a magnificent artistic work, the story of A. P. Chekhov responded: "Solid delight, and nothing more," he said about the "stroller".

To the "ANTH" cycle adjoins "Rome", Published in 1842 under the heading "Excerpt". The story is conceived as an extensive story: and apparently not finished. According to the plot, this is a story about the enthusiasm to the young Roman prince with a young girl-Albanian Annunzitata. Here is a series of magnificent descriptions of the dress and appearance of the girl, the image of Paris, where a young prince lives in luxury for a while, as well as Rome, who has lost its former greatness. Returning after a four-year-old rampant life in Paris in Italy in connection with the death of his father, the hero was left without funds. His lifestyle changes to his homeland. "Where is the huge ancient Rome?" - He promotes, trying to understand the reasons for the heyday, the greatness and fall of their homeland - Italy and Rome. The story contains a magnificent description of the Italian nature, city landscapes, paintings of great artists. A young man would like to resurrect the former greatness of Rome: he is looking for and cannot find ways to this revival. Apparently, the young prince considers Italy as a country by fate; "It remains empty Mediterranean; As the resulting river river, it was overwhelmed by ITALY. " He is now presented with a minor behavior of modern youth and politicians, mired in carelessness and laziness. Sometimes the hero saw the pattern of death of his fatherland; He saw the "germs" of his revival. He tried to study his people and constantly, continuously wanted Annunziata. He saw a young girl on the carnival, but could not meet her. The story ends with the fact that a young prince affected by the divine, majestic view of Rome and its surroundings, "forgot himself and the beauty of Annunciata, and the mysterious fate of their people, and everything that neither is in the world."

These stories were originally published in various publications. The story "Portrait", "Nevsky Prospect" and "notes of the crazy" were first published in 1835 in the collection of "Arabesque". The "nose" and "stroller" are printed in 1836 in the journal A. S. Pushkin "Contemporary". "Shinel" was for the coincide in 1841 and was first published in the third volume of the collections of Gogol of 1842. The seventh, unfinished, tale "Rome", first published in 1842 in the magazine "Moskvatik". All seven "Petersburg" agents published for the first time in different publications were combined by Gogol in the third volume of the collection of its writings of 1842. At the same time, the story of the "stroller" and "Rome" is not necessarily adjacent to the specified cycle, although the author himself found it necessary to combine them in one volume. Therefore, the story of Gogol included in the third volume of its collections of the writings of 1842, to some extent can be called by Petersburg. The story of N. V. Gogol testifies to a certain creative evolution of the artist. This evolution was mainly determined by the changes that occurred in the artistic method of the writer. In its creative method, Gogol passed from romantic to realistic form of image reality. Accordingly, the artistic image is also changed. Very well told about the evolution of Gogol's creativity V. G. Belinsky. He noted that in the "evenings ..." prevails "Common", which "everything is light, everything glitters joy and happiness"; In "Arabesques" and "Mirgorod", Gogol from Commission moves to "Yumor", which "is already mixed only by spaces or children", and people who looked deep into their lives look at his paintings with sad thinking, with heavy fortunate ... " . The evolution of the artistic method, determining the image tools, in turn, depended on the deepening of the look of the writer on the surrounding reality. Gogol tries to determine the causes of social contradictions and conflicts and, of course, appeals to the realism. This is the innovation of the Gogol-artist. According to the correct remark of Belinsky, Pushkin and Gogol gave new "criteria for judgment about elegant." "Pushkin and Gogol, are the poets that cannot be said:" I read! ", But which the more you read, the more you get ...".

By 1830, there are a number of small epic sketches, passages. "Nights at Villa" written in connection with a specific event - the disease and death of Count I. M. Vilygorsk, "Scary hand" and "Lantern died""The rain was long" (passages of 1833), excerpt from the story of "Rudokopov" (1834), as well as sketches "Semen Semenovich Batyushki" (1835), "Virgin Chablov" (1839).

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Most of the ages of Gogol have a clear social, ethical or psychological concept, recorded in the system of artistic images. In the Petersburg Handes, the ethic and psychological artistic concept of the "Nose", "Nevsky Prospect", "stroller" emphasizes the idea of \u200b\u200bthe priority of the internal content of the personality, which determines its significance or insignificance regardless of its external forms. The social and artistic concept was recorded by Gogol in the "Notes of the Crazy" titles, "Portrait" and "Shinel", where the tragic death death is depicted in a hostile environment.

Gogol, alien politicians and open intervention in public affairs, at the same time has never been a neutral writer. He knew the artized price to his work and did not forgive a frivolous attitude towards writing work or media. And it was the Petersburg story that was the highest level of artistic maturity, which opened the characteristic then for his subsequent creativity, which gave him and glory, and suffering - conscious conceptuality.