The theater is designed for people, but play it dolls. Theater - for living people! About "dolls" Valery Belyakovich creative burning divinely, it can't fade

"I want to go to the theater when there is a theater"
Evgeny Knyazev

Sensation! Sensation! Madrid comes on the noise puppet troupe señora Pygmalion in America. Created dolls are almost indistinguishable from people; Tireless, dynamic, they affect the viewers of the harmony of movement, the purity of intonation, fascinating the scenic existence. Local actors are horrified - their performances are canceled, entrepreneurs - in an impatient excitement: what these strange tour, fantastic latles or major money fiasco turn out. Here in short, the story canvas of the southwestern "dolls". Everything in this performance was mixed, it was intertwined - people, dolls, fears, desires, the world is real and theatrical, and from that performance turned out to be spectacular, saturated, besides musically expressive. In this performance, the explosion of accumulated directorial and acting sensations, ideas, because in it and irony, and a farce, and lyrics, and tragedy, and grotesque, and a little understandable to everyone in every philosophy, and blinding the brightness of the South-Western troupe.

"Dolls" - from those performances in which you do not feel. That seems to be the plan, the plan caught, strengthened and look at intently, but no, it raises you again, and twists, and turns over, and you hear new topics. It is like Bach Polyphony. Or as a mosaic panel. Already the first scene with entrepreneurs and actors discussing the upcoming tours of Senior Pygmalion troupes, Tikhim Piano gives rise to the theme "People-dolls". A person dependent on other people, from their position in society, words, actions, preferences, circumstances and situations. But everyone wants to take a place closer to the sun ... Acting addiction - from directors, tickets, the reactions of viewers, producers, sponsors - it is still worse, because it is harder and grant. I am sure that thanks to the lively, fine acting irony and Valery Belyakovich, "phrases-bully", each of us already in the first minutes of the performance tried on this costume of a live puppet.

The exit of the first false pygmalion from the world built on the stage of the casting cardiac. Soviet fuses, he pops up for the middle of the scene, and the tsunami eccentrics are covered with Tsunami! The first false-pygmalion, which rendered to the doll bracklastic, is important, repeating the word embedded in him, grimaches, instantly changes the facial expansion, intonation, and sharpened shouting: "They are perfect! They are dolls! " By allowing yourself to shake, brandylast, together with Pedro Caine dolls and crumbling, play a small sketch, where an aging actress Hortensia asks to take a nephew of Terezit in the troupe of Señora Pygmalion. Terezit with "wonderful voice and terrible plastic" miracle as good! She can do everything - and focus to show, and sing with the "soldier choir or a symphony orchestra", and Shakespeare coat. And in the case of Hydrangea, the Brandahlyst, responsible for the recharge of dolls, clearly moved with the "energy feed"! The doll is spinning with Yuly, sparkles with plotted eyes, fountains the bikes, forcing the viewer to break into an involuntary smile.

With the advent of the second false pygmalion, the theme of creativity sounds clearly. A little boy with a wooden horse was lonely and poor, but obsessed with thirst for creativity, and therefore happy. "My whole life was entirely devoted to the dolls. Years of insane experiments, years of inspiration and hard work went. My all-consuming dream was the creation of a perfect actor, dolls, fully submissive creative imagination of the author, as the clay is submired by the hand of the sculptor. I worked as obsessed. " The voltage of the will, the unbearable concentration of thoughts and feelings in the desire to fill out, express themselves, create a dream. Sweet and difficult process of creativity - mystery, inspiration, improvisation, which is brighter in its emotional fullness and more expensive. The second Pygmalion speaks of this obsession with the creativity of the creativity, penetrating and convincing.

When "in the shining spotlights" appear "beautiful, slender, light, arrogant dolls, when their representation begins to live people, the line between the real world and the world" on the other side of the mirrors ", from where dolls appear, disappears. No longer distinguish where a person, and where the doll, where the original, and where is a copy, where nature, and where the mechanism. The dolls in the play Valery Belyakovich turned out to be alive, they absorbed human qualities, they learned to hate, laugh, cry, sad, arguing about freedom and glory. They are exactly like people: chatty, silent, nimble, aggressive, talented, romantic, evil and kind. They get tired as people. They relax like people. They dream as people. They rewind like people. And the dolls know about people the main thing, the fact that we sometimes forget, murdered by the crown of creation. People are the same toys, slaves, like dolls. Let not the host toys, but the hostage of circumstances, fate, their own passions, finally. With Pomponina doll, the topic of love is connected in the performance. Pygmalion created a perfect creation that conquers at first glance, a gloomy beauty and ... fell in love with her himself. For him, Pomponin is a bright creature from the fideline world, inaccessible, clean, immediate. Oh, how beautiful she is, Pomponin. Capricional, but at the same time touching. In a lightly hoarse voice that performs the Dissolevian song, so much passionate melancholy on the impossible, so much "sad circus", so much touching the palm outstretched. In a ridiculous balachon, with speaking hands-sleeves, it seems even more attractive, even more innocent. Here and the Duke Aldark, the patron saint of Spanish theaters, did not resist. Stunning passion, the stunning of feelings he plays dusty and soften. He craves pleasure, he is confident in herself, he is allowed. The doll dream of his youth to sleep should be with him. The entire palette of the paints is a quiet recognition in love, a gentle touch, timid hugs, rage from inconvenched resistance and mad cry: "You are a doll, and you are mine" - everything is involved in the actor in this role.

When the pygmalion obscures the dolls, when Pomponin quietly mumbles "And what will happen next", when Pygmalion in anger makes the dolls to submit to his will, when Pomponin shoots one, two, three, four times, when the dolls deprived "recharging", The broken movements are brave to the open on the floor of Pygmalion, when life is gradually leaving and when you understand that all this is only a scenario written by real pygmalion, appearing on the stage, rolling a lump. And here, along with this tearful lump, for me it is obviously the subject of the responsibility of the Creator. Creator, Colder (one can continue further within the borders of less philosophical - founder, head, etc.) to create, breathe life to keep it, save, not trample, give hope and a small piece of happiness. And at first, I don't even want to notice this Pygmalion, looking for the last time the hand of Cheruvim dolls towards Pomponine; Just hear the echoes "devastated", "disappointed", "Why", "Puppet Museum". But when the real Pygmalion pronounces: "Theater - it belongs to actors. Alive, from flesh, blood and nerves. And only them, "then another topic is finalized. This is a theatre! All the fact that in the course of the performance sounded from different characters, all this is about the theater, the live theater, born by the unity of the will, energy, thoughts, inspiration of the director and actors. Magic, mystification, witchcraft, sabbar, choking with delight, the viewers shining the world, where the creatures are easy, where the voices are transparent, where you are called, and you, not knowing their tongue, you understand everything, for what the creatures say, all this about you . And you must be there, with them. This is a theater in which the Campulative temperamental entrepreneur Don Agustin (Farid Tagiyev), an impressive Brandahlyst (Denis Nephetranov), Brutal Pedro Cain (Alexey Matoshin), a real primaudonna Pomponin (Karina Dymont), blinded by the desires of Duke Aldarc (Oleg Leushin), seed Tarator Balababla, picturesque-accurate "Cashian Guardian" Krochobor (Andrei Sannikov), Indyphirtless Juan-Bolon (Alexander Shatohin), ate "Fire Creator" Pygmalion (Evgeny Bakalov), Gentle Cherubis (Stanislav Callas), tired of the genius Senor Pygmalion (Igor Kitaev ). This is the theater, "where people come to experience unprecedented passions, a long time, perhaps, forgotten by our puppet time."

Genre "Dolls" is defined as tragifars. You can't think more precisely: on this material you can play everything, from the tragedy causing tears and catharsis, to a farce causing the laughter. The feeling remains that the farce with unexpected elements of the tragedy (the view of Pygmalion on Pomponin - "What will happen next?). In December, played tragedy with the elements of the farce. I am not that I understand the theatrical theory, but as far as I have enough My classical education - there is a few approaches to the theater, one of which (if I don't confuse anything, according to Stanislavsky), implies: the viewer must forget that he is in the theater, in front of him the scene and artists, dissolve in action and completely "believe" in What is happening on the stage. And there is an approach to the theater, according to Bertold Brechtu - the viewer needs, on the contrary, remember constantly that he is in the theater.

So, I don't have the concepts, where I got exactly the perception, but there was a resistant feeling that in November I saw a performance made closer to the second option, and in December - to the first one. In the head, it was definitely not fitted that I see artists. On stage were Pygmalion, Duke, Brandylast, and not the performance played before me, no, it was randomly somewhere in Madrid and suddenly peeped the arrival of Senior Pygmalion with his dolls ...

From the very beginning it was different. Very serious and tense entrepreneurs, and unexpectedly interesting actors. Usually their words somehow merged into one common "porridge" for me, however, this reading also had a place. I finally caught where the "real" monologues of Lira, Hamlet and Othello moved to the text "On Dolls". This time, the "actors" were able to convey not only the fact that the actors they are, in general, moderate, but also to transfer certain drama - "And what are we, we are worse than dolls?" ...

And here came the duke Aldark. Usually, in the course of the first action, I calmly treat the duke, usually he is somewhat pompous theatrian (but it is rather necessary - without it there will be a brilliant contrast with "you are mine" in the second action). But this time, goosebumps ran out already on his first monologue: "Their faces were bright ..." Honestly, in his final I was seriously frightened - and didn't you happen to Igor Olegovich Rubelovsky? He was played indescribable: suffering and longing on the face of Alducar, a passionate desire made by man too high rank to allow himself to talk about his passionate desires. "The dreams of youth have long left me." In such a self, they are not always confessed, and it broke out by chance - before displeasted actors, in front of landed entrepreneurs. Madness. And the incredible tenderness of Aurelia, which is still capable of understanding his spouse ... Then it became more and more interesting ... if it used to feel the feeling that the tragedy of Duke proceeds rather from his inability and reluctance to resist their own whims and passions, but yesterday everything happened due to It is impossible to resist them. Striking Differs from: "Sell Pomponin !!!" Before "Well, not for sale - it means it is not for sale ..." It is impossible to describe everything that happened on the stage at the moment when Duke took Pomponin. Inxicated ... frightening (only Pomponin does not notice this yet), he waved the torn tie and those who knew "what will happen next" could see the hint of Pygmalion whip.

Somehow the antagonism of the Duke with Pygmalion was particularly felt, although it was always attended by: several times they stand at different ends of the scene, the duke will repeat his gestures for Pygmalion. It was never felt that there was a struggle for a woman, for the right of possession, a collision of two owners.

The next version of Pygmalion (like most characters of this performance, Pygmalion does not happen two times), too, words are difficult to describe: there was an amazing hand out in him, as if he, only appearing on stage and rejoicing his successful joke, already knew what was doomed. How many feelings were in the monologue "you all overshadowed for me in the diluted world" ... MiG was clearly visible, when he turned into a brilliant madness from the brilliant Creator (a story about the presentation of dolls in Washington ("and then I decided - no, I will not stop at that achieved "). I was ready to cry with him - the man in the theater and the boy ...

Problem: It should seem to look at the character on the outstanding price, and I am looking at someone else. During the execution of the song "Cukushkina Kids", I suddenly distracted by Pygmalion ... He froze, he moves his hands, as if he was playing the keys, and ... he was worried about them, his dolls, he wants everything to do. .. The second time - when Pygmalion looked at Pomponin. He almost cried ... He had a look of a loved man, he could not talk anything before - we would all understand about his love. That is what the difference: the feeling of the duke to Pomponin - Passion in half with tenderness, the strongest, because he is already "nothing to lose." The feeling of Pygmalion is love that has become a sense of painful. But who doubts this love? After all, he understands that Pomponin is just a doll, his creation, that the response feelings, those whom they would like - there is no. And yet ... he hopes. In the end, it could be tears of hope ...

Only this time I realized that the pygmalion monologue about Pomponin creates more questions than answers. When did he realize that in love with his creation? He created her - and the feeling awoke? Or did he fall in love with the excellent Pomponin in the process of creating? (After all, it was not by chance he gave her not just a female name - but the name of the forest nymph). Or did he consciously wanted to make a doll, a woman who would love?

As he was terrible, in fact terrible when she caught up with his creations. This was a real creepy and cruel tyrant and despot, where there is a brandy. ... The perfectly aligned hair was sidewged suddenly ... He broke almost instantly, it was only a shot, and ... also a doll. The most perfect. Doll, who did not know its essence ...

Giovanni Brandahlyst. Like Pygmalion, yesterday he was again another. Half, as I saw this hero in September - terrible, frightening; As in the october play - I tried to raise the audience. As a result, the image turned out to be thinner than it was usually impossible to catch, as it turned it in it, flowed - together with striking plastic: from almost human to the already puppet, from terrible - to funny, from smiles in the hall to goosebumps. In my voice, it became somehow more manners, inserting intonations, the character became as if even more confused (as he welcomed the anthropreners in the role of false-pygmalion - "Good! Great!"), And at the same time, Brandahlyst was tougher and evil (if compared with the previous play). And also - I was very toned again - a hand brought to the face, a small scene without words (in front of the "night ransights"). Many thoughts swept this moment: Whether crying, or it seems, can there be a mechanical doll to cry, especially - the cruel brandylash?

As a result, it turned out some mechanical creation, simultaneously frightening and attractive.

And also - causes many thoughts. Why does he like to play the role of "first" pygmalion? Perhaps because he is accepted for a person? With what pleasure aura stretches his hands for a kiss in the first action - and with what disgust runs away in the second ("Where did you go?"). What he really is, in fact, in fact he, Giovanni Brandahlyst, a "buffer" between pygmalion and dolls. But he ... he probably gets more and most. The tragity of such a character, like a brachlyst, is a completely different category, rather than the tragity of the Duke of Aldecar or Pygmalion.

Separately - about resourcefulness. After all, all artists are probably afraid to forget the text. In the scene "Press Conference" Libe-Pygmalion, Dmitry Erin, interpreted the answers, and on the question: how much did you give ideas? " replied "no one has not complained", but it was the answer to the not yet named question "and what percentage is entrepreneurs?" At the same time, the brandy slant was drawn in puppet crusts - he broke down, the program was tamed. The audience, who were on the "dolls" for the first time, probably not everyone understood what the matter is here. Moreover, the press conference went on, as needed - to the question of the percentage of false Pygmalion answered irritably: "Good! Normal!". But permanent spectators, in any case, I admired how gorgeous mistake suddenly became part of the image.

After that, the viewer smelled of another scene, which used to go past me - probably because there is a somewhat side: in the foreground, the common doll dance, and the edge of the scene has a duke, pygmalion and a brachlysta fits them. Suitable to find approval from your "Creator and the owner." Even a mechanical doll, "hinged creature", it turns out, so important and pleasantly this approval. And Pygmalion can also, as it turned out, be not only the "creator", not only "Tiran", but also the "good owner." For me, after this episode, some new paints were added to the characteristics of both brandylast and pygmalion.

Pomponin. To some extent, the rest of the artists are easier. They can only be compared with the body of the theater in the southwest, and it is difficult, so different with our dolls. And only Pomponin is always getting: and because in the comedy actresses performing this role, three; And because at one time the Nizhny Novgorod public was spoiled by Karina Dymont. On three performances, I saw three different heroines, and now at least I can compare. Julia Palagin tried to differ, to be "completely different," Julia Lykov seemed to be a very young Pomponina, (at some point even the association with Suok, the "doll of the Turty" in the head of the heir). The love of her Pygmalion is the love of a man who is older and wiser (however, still powerless before the "beautiful Pomponina"). She wants to give "flowers, candy, something" because it is nice. And I want to see "other continents" because before she never seen them. Pomponin Marina's plan seemed to me more "adult" heroine, as if more "experienced", and in his own way, a doll, knowledgeable life. This pomponina wants to give flowers, because she knows - she deserved them. She wants to see the continents, because she needs to escape from the "drawer". This Pomponin is strange, unusual, mysterious, in it almost human awareness and understanding of all that happened constantly contrastled with a darling naivety - as a result, it turned out a very interesting version of the heroine.

We love me from the very first viewing of "dolls" aunt Aunt Hinghesonia - Teresit was at the height. From the very first words "aunt" became clear what will be gorgeous. Dmitry Kryukov something extraordinary created. Wild, strange woman (just - a woman, in my opinion, Matosin in Moscow plays a certain mysterious essence of the floor perfectly indefinitely), moving from manners to rudeness ("Sleep!"), Such an emotional aunt, over the intonations and replicas of which the whole hall laughs . It is wonderful to her a niece with its inimitable facial expressions and "terrible plastic". And this time, how funny the Teresit was released ("Sign, bring us happiness!" - My favorite quotation, probably, from all the performance), how badly the crumbling "Gol Roll!", I even shuddered.

All the dolls were good, and the special ulcer of balabola, and the romanticity (and the Mimica, of course) Cherubim, unusually emotional in opposition to ordinary severity turned out to be captain of Mamon, wonderful beautiful dolls of Marulda and Donondell (called "Trrrrrrrrrrrrrr!" And "I will be I will be, Cumbundumayayayayayaya! "), Juan-Bullyn, who is able to tell a lot with the help of one ku-ku!".

Never before after the play did not remain so many different thoughts. I am now wondering, "what will happen next" ... that is, what I will see in January on the "dolls". I have no doubt something completely new and more.

In Stanislavsky dramatic again premiere. Valery Belyakovich reworked the play of the Spanish playwright Hasinto Grau "Senor Pygmalion" in the brilliant tragifars - "dolls".

In my opinion, it turned out something like Conglomerate Azimov with Shakespeare and Neanf of a Kizika, an attic wreath of monologues related to the expression of a talented massive, where, nevertheless, each actor leads its clear party. And the fact that the spectators have heard Shakespeare's monologues from the stage, it is quite in the style of Belyakovich, remember at least "six characters in search of the author."

By the way, I really liked the Hamlet monologue performed by the People's Artist of Russia Vlad Mikhalkov. Cool and blood cloaks very fit to his interpretation of the character.

Well, the plot of the play looks like this. In Spain, the beginning of the twentieth century comes a very peculiar troupe. It consists not of people, but dolls. Commands and owns the troupe her creator named Pygmalion. Local entrepreneurs are amazed by this innovation, and their patcher's paturi patches and is amazed, and for so much that he abducts the arrival of this troupe, the troupe rushes in chasing the kidnapper, and the wife of the duke, entrepreneurs and Pygmalion himself rush behind the troupe. That is, there are enough speakers in the performance.

Separately noted the episode showing the nightlife of dolls, the episode is quite brave, but made without vulgar, which is rather strange for the theaters, for it in fashion. But thanks, thanks to Valery Belyakovich, who in his works of vulgarity does not accept. I could not have been lazy and read the version of the Grau and, I must say that the remake of Belyakovich went to the play: after the new episodes and actors introduced to them, the play became much deeper and brighter. At least the audience looked at her in one breath.

As the costumes and artists always shone: the costumes of entrepreneurs are very interesting, which are made with the motives of medieval Spanish clothes from the peeks of Velasquez.

A very interesting solution with scenery: a number of transformer mirror cabinets added a certain feeling of techno del art.

And very effectant was the yield of Belyakovich on the stage in the final. A kind of Meyerhold monologue against the backdrop of piles of teliche characters killed by stolen Pomponina. During the shooting process in the ears, the song Edith Piaf "Browning" sounded in the ears.

The mountain of those killed on stage, reminded me of the premiere of Antigona in Paris, where the fight between supporters of classicism and a new tetra began with a similar final in the hall. But Moscow spectators turned out to be more educated and weathered French. And it was the audience that confirmed the success of the performance by the Achlagovy hall, and after all the third month of the premiere was already.

Saving beauty spirit. Premiere in the theater in the southwest: Valery Belyakovich. "Dolls" based on tragifars Hasinto Grau "Senor Pygmalion"

Elena Movchan

Elena Movchan

Saving beauty spirit. Premiere in the theater in the southwest: Valery Belyakovich. "Dolls" based on tragifars Hasinto Grau "Senor Pygmalion"

This performance is unusually beautiful - there is some kind of crazy, tragic beauty. It creates and refined scenography Valery Belyakovich, and a thin game of light (V. Klimov), and carefully selected beautiful music (M. Korotkov). Beauty is even before the start of the performance. Spectators are cleared, the hall is filled, or rather - it is stuck to refusal: they are sitting in all the aisles, they are stools even come from the hall. Silence comes, and the views finally turn to the scene submersible in the twilight illuminated only by the light from the audience. A mirror is placed along the back of the scene of the scene, and the reflection of the visual hall resembles a giant panel Pablo Picasso's gigantic panels - and in composition, and strangely even in color scheme. The first musical chords are distributed, and the performance begins. The actors are published on the stage, the mirror doors open, and actories-dolls are out of mirror wardrobes. The world of the casting cardie merges with the real world. This prologue, filled with amazing plastics, carries a deep meaning and sets the tone to the entire subsequent action.

The action unfolds rapidly and inevitably leads to a tragic junction. The eternal myth of Pygmalion, who was a miracle of creativity - like God, created by the man and who loved his creation, - again appears before us. The great puppeteer Senor Pygmalion (E. Bakalov), the creator of the famous puppet theater, whose dolls are almost indistinguishable from living people, comes to Madrid. The actors of the theater, the performances of which are ousted by tour, outraged, but behind their indignation costs fear: what if these dolls are in fact superior to their living actors, and then they will not be needed and in demand, and this is the collapse of the acting profession, the end of them, Acting, creativity ... such is conflict, and new and new questions arise behind it. Can living feelings and passions replace their mechanical imitation? Can the hands of human hands become fashionable to the creatures of God? Can a person, like God, create his own world and manage it? These are such difficult issues a performance "Dolls" in the theater in the south-west.

Valery Belyakovich decidedly and boldly reworked the play of the Spanish playwright Hasinto Grau, written in 1921, leaving only the main conflict and the main characters, while adding new scenes and introducing new actors. In the play, besides the "main" pygmalion, two more: "lzpigmalion" (brandy doll) and Pygmalion-2, and thus the chain arises - the creator, its alter ego and the simulator. The role of the simulator, "lzpigmalion", controlling dolls, with shine played by A. Ivanov, completely unexpectedly from the Hero-lover turned into a talented characteristic artist. His monologue, sending to theatrical trends and discussions of the early last century, sounds parody and at the same time very relevant. And refrain "These are dolls!", Issued every time with a new intonation, is literally crashed into consciousness of the audience.

What are these dolls? They (and lzpigmalion too doll) - the main characters of the performance, Naeda V. Belyakovich changed the name of the play of H. Hong - not "Senor Pygmalion", and "dolls". The puppet ensemble plays great, combining plastic puppets and live, human plastic, without pursuing anywhere, not allowing the slightest false. The night scene in which the dolls are trying to be like people with their earthly passions and instincts, play with a big cloth and taste. Alas, puppet passions cannot have real incarnation, and this existential situation is transmitted plastically subtly, in accurately compliance with the genre definition of the play - tragifars. At first, the vain attempts of dolls are funny, then all these chaotic movements will develop into some terrible phantasmagoria. And Cheruvim's violent cry (O. Leushin): "Dolls, stop! .. Pygmalion, did you want it?!" - breaks the closed circle, the vicious circle when the desire is not confirmed by feeling and its implementation is impossible. It is impossible to carry out puppet insurgents against Tirana Pygmalion. This scene is made in the parody style. Imitating people, dolls create their own authorities: "You will be parliament ... And you are a people who everyone oppress ... And I will stay at Pygmalion and I will spy in your favor ..." The audience laughs, but the final is predshped, the tragic isolation is predetermined. And when Pomponin's doll (K. Dymont), the favorite creation of Pygmalion, kills him with multiple shots from the gun and continues to automatically press the trigger, removing the deaf, short clicks, it becomes clear that it is murder at the same time and suicide, because the dolls are helpless without creator. And here they stretch to him and fall around it - not damaged, but "fireless".

What are people? Actors, entrepreneurs, Duke-Metzenate, his wife? Shocked by the dolls of Señora Pygmalion, their indistinguishability from people, they merge with them, communicate, as with equal, Duke Aldarca (V. Afanasyev) falls in love with Pomponin and behaves with her, as with a living woman. "We are the same as they ... - People say to Pygmalion. - We also dolls." But no. People, with all their sins and disadvantages, - the creation of God, not a man who imagined himself the creator. God created them in his image and likeness, and this is the image of the Creator. He instilled in them the spirit of creativity, the ability to create, and this will not allow them to become puppets.

This finals of the play and the play, written by V. Belyakovich. Pygmalion-2 (V. Belyakovich) appears on the stage when, it would seem, everything was completed: the dolls along with their creator are dead, and shocked people froze around them. He utters a final monologue and gives the floor to actors, which simultaneously read the initial stanters of their monologues from Shakespeare's play: Lira, Gamlet ...

The play "Dolls" has already become a sign for the theater in the southwest. So - the iconic - the play was in this theater "Moliere" M. Bulgakov, recently filmed from the repertoire due to the death of Viktor Avilov - Unique Moliere. In the "Molter" of the theater in the south-west there was its own clear and clear concept, and in the "dolls" we see her new statement and development. The main thing in the "Molver", supplied by V. Belyakovich in the early 80s, was not a line of artist and power, which was usually focused on the plays of Bulgakov, but the topic of creativity as the only opportunity to live in this world, full of danger. And when at the end of that performance, a bunch of lost actors surrounded by his teacher, the heart was compressed from pain for them: what should they do in this world without him who created them and ginging creative burning? And here in the "dolls" sounds the answer to that painful question: the creative burning of Divinely, it cannot fade. The spirit of creativity, living, true creativity, which is the beauty of beauty, is saving.

Review of the performance "Dolls", tragifars based on the play by H.Guu "Senor Pygmalion"

Spain, Madrid, it is there that the performance occurs. Here, on tour, the well-known troupe of the high-tech dolls of Senior Pygmalion arrives. But the trouble is that no one really knows who is such a pygmalion and what makes it create. Someone calls him a "typical sadomasochist", someone's genius.

Representatives of the acting guild are seriously concerned about this event, they are afraid that the theater, in the era of human-like dolls, will die. Replacing the living theater to more perfect? Hoax? Or is the actor's profession becomes irrelevant and should be replaced by an oven? It seems that only the Duke is glad to arrive a tour, but this joy of scoop, he thinks only about how to fill his pocket.

Pygmalion with his troupe came to the city, but as a person with the world glory, he decided to play the inhabitants of Madrid. Made it with his dolls, substituting one of them instead of himself. But the draw was soon disclosed, which produced a great impression on skeptical representatives of the actor guild. All of them switched to the side of Pygmalion.

In total, ten dolls, each of which possesses its own character, each of them has its own task.

• Brandylast - manager, he monitors all dolls;
• Pomponina - imagined, considers himself a queen of the theater;
• Mariluda - singer, her voice is not very;
• Donondell - ballerina, dances are as close as possible to human;
• Pedro Cain - Hooligan, Robber;
• Cherub - the most loving of them;
• Balabol - loves to chat without affairs;
• Crochobor - Skup, everything appreciates only in cash equivalent;
• Juan-Bollan - except for the word "ku" anything else knows;
• Captain Mamona - Captain, apparently after contusion.

At first glance, Pygmalion is a person's rumped, obsessed with ideas of creating the perfect similarity of man. He can talk about her dolls infinitely and seriously thought to make new dolls, self-sufficient, universal, contact, it will be the dolls of the next generation. Pygmalion wants to deceive the mechanics of nature, but it is unlikely that it will work out. This is a person, like God, who created his world and managing them. Pygmalion associates himself with the Creator.

Genius interposed in his own passions

Several times for the performance of me "pierced" to goosebumps. The first time it was when Senor Pygmalion talked about his life, about how he had worked his dolls since childhood. Over the creation of prototypes, he worked more than 27 years. I really liked the fact that a parallel with mythological pygmalion was held in the performance. Senor Pygmalion also fell in love with his creation - excellent Pomponin.

Soon it turns out that the duke, man's saming, with a weak character and a pad to women, is not indifferent to Pomponin. His wife suffered many treason with mistresses. She even knew where he would take them away from her. Whose side is true love!

The relationship between people and dolls is one of the many binding threads of the performance

An important point in the play is the night episode. The dolls are confused in that people they or not. They constantly argue and swear with each other, each of them considers itself better than others, considers himself a man. Dolls have human desires and needs. Brandahlyst makes great efforts to put dolls in place. He shouts: "You are dolls!". But no one listens to him for a long time, everyone is passionate about the games with Pomponina.

On the stage, the Brownian movement begins, chaos begins. At this moment you understand what they really are people, and we sitting in the hall, dolls?

The performance was created based on the play of the Spanish playwright Hasinto Grau (1877 - 1958) "Senor Pygmalion". Written in 1921, she was first put in Paris, and then with the triumph bypassed many European theatrical scenes - the plot of mechanical dolls in the era of constructivism was very relevant

There were many interesting parallels in the performance, each viewer finds his own. Incredibly relevant play, it can be compared with modern realities. The main parallel in the performance, I designated my own political regime. Imitating people, dolls create their own authorities: "You will be parliament, and you are a people who all oppress. And I will stay at Pygmalion and I will spy in your favor ... ".

In this case, the dolls that are tired of the owner, and want freedom, can be associated with the tired people of any (ours) countries, and Pygmalion, the creator of spiritual cracks, uniting all dolls, can be represented as any (ours) president . Or, for example, to hold a parallel with Ukraine, when the dolls tired of the usurpactor power of Pygmalion decided to escape from him and build a new, independent life. As in life, the ending of the performance is pre-preached.

In each revolution there must be one leader. Pomponina, for me, became Zhanna d'Ark on stage. She kills Pygmalion with multiple shots from the gun and continues to automatically press the trigger. Creepy moment, goosebumps. It becomes clear that it is not only a murder, it is the suicide of dolls, because they are helpless without their creator. They fall around it. Agree, is there something in common with our policy?

The main refrain of the performance: "These are dolls!" It sounds every time new, with a new intonation. At some point I actually thought that on the scene of the doll

Life on stage for a short moment freezes and the audience comes to a real Pygmalion. No one expects such a plot of the plot. That is, three pygmalions are involved in the performance: real, and two: leafylast (brandy doll) and Pygmalion-2. It seems to me why Hasinto Grau decided to show the readers with a chain of characteristics, from the creator before his creation. What can they be different and at the same time the same.

This Pygmalion utters a final monologue and gives the floor to actors, which simultaneously read the initial stanters of their monologues from Shakespeare's plays (it was from this that the performance began).

Creative burning Divinely, it can not fade. The spirit of creativity, living, true creativity, which is the beauty of beauty, - saving

The performance is unusually beautiful, as such scenery on stage was not, only glass boxes in which dolls are stored. The beauty of the action attached to the ideal game of light, for which a particular thanks to the artist in the light.

About the musical accompaniment of the performance should be said separately. It is almost perfect. Carefully selected music, complements the already peculiar atmosphere of the performance. The injection or relaxing music begins to play exactly when it is necessary. The only minus, which we could not but notice, is that at the very beginning of the performance, loud music drowned the voice of the actor. We sat in the forefront, but I did not hear anything.

A surprising plastic is applied in the performance, which carries a deep meaning. Movement of dolls, combining plastic puppets and live, human plastic, amaze all imaginable and not thoughtless faces.

But be that as it may, the theater is created for people, "from flesh and blood", for the theater is a living organism

"Dolls" are very accurately suitable for the definition of the play, which was stated on the posters. This is the real tragifars (a dramatic work, which combines the tragic and comic elements - approx.). These elements are transferred to the dolls, because they are the main characters of the performance. This performance can be easily disassembled by the quotes, in each dialogue of actors there are unusually expressive thoughts. Hall applauded standing!