Theatrical poster - reviews about the performance. Drums in the night "Drums in the night" Butusov as a personal experience of living historical disasters

In the theater named after Pushkin, loud in the literal sense of the word premiere - director Yuri Butusov put the play of Bertolt Brecht "Drums in Nights". And the drums here sound almost stunningly, then forcing the characters to go to dance, then foreshadowed.

Bertolt Brecht wrote "drums in the night" at the dawn of his dramatic activities. He took part in the November revolution, was fond of politics, but soon disappointed in it. As a result, a play was born about a person who first puts all the forces into fighting social injustice, but in the end he refuses her when his personal life is being established.

According to Yuri Butusov, his passion for this production began at another twenty years - for the same amount, by the way, he wrote her German playwright. "This play of Brecht is considered imperfect, but it seems to me that it is beautiful in his imperfection, in his sketch," the director explains. - Bright poetry and expressiveness, which in this play is, I am very close and causes an incredibly sharp feeling. He wrote it quickly, easily, squeezed, assertive, hooligan, almost to the dispute, almost in one night. This is a wonderful artistic start, and it seems to me that the play is wonderful with his incompleteness. "

And although the "drums" has a specific historical binding, in the theater named after Pushkin decided to refuse it. In order for the work to become more consonant with our time, he even ordered a new translation from Egor Reudova (who, by the way, recently presented). As a result, the work of Brecht was not just modern, but even timeless - about people whose personal drama unfolds against the background of the war.

Anna (Alexander Ursulak) was waiting for a beloved for four years, which was missing in the war, and now married another - Friedrich Murka (Alexander Sailors), to which she applies not without delicate feelings. In the midst of the celebration of their engagement, the one who has long had been buried - Andreas Kragler (Timofey Tribunets) - the one who did not wait for Anna. Now she needs to decide with whom to tie his destiny. It is not easy to take a thoughtful solution - in the tense situation, the battle of the drums is broken, forcing the characters to dance before you fall without stopping, as if they are puppets in the hands of a doll. People drink, swear, dancing, and against the background of this, the rocus shots are heard - it seems that they are going together for the last time.

Men playing women. Women playing men. Brightly painted faces: here and mime, and clown, and even Joker (the one of the universe DC). Masks give removal, which was an integral part of the "epic theater" on the theory of Brecht. Following the thoughts of German playwright, Butusov destroys the fourth wall - the actors interact with the viewer in search of a lighter, then a mobile phone.

A hundreds of round light bulbs blink clearly, the scene is similar to the circus arena, then on the cabaret, and then the construction frames of the construction of the Berlin Wall are projected into the screen. On the stage, Jesus with a garland instead of a tern wreath passes slowly, and Charlie Chaplin sits on the side and moves his legs to the tact of music. One image replaces another - the viewer needs to either collect a single puzzle from all this, or to look at the dance of bright autumn leaves. Suits, scenography, the game of light paints an incredibly beautiful picture, from which it is impossible to tear the eye - about hidden senses sometimes just do not want to think.

The author of the play and the director call the "drums in the night" comedy, although you want to have a lot - the hysterical laughter is replaced by crying, the dishes bending, drowning the cries of swearing, the scenes of despair alternate one other. And in the end you understand that the director not only wanted to laugh at the audience, and he himself slightly giggles with Brecht over him (kindly). The incompleteness of the "drums" is an unexpected turn, you are all waiting for a fatty point, and instead, the character of Tribunseva sits in front of the TV and drink tea.

After the years after writing the play, Brecht did not want to include the "drums" in the composition of the writings - said that the spirit of the contradiction led him to the very line of absurd. The absurdity in the Bucosovskaya production does not leave the scene - he knows how to bring this feeling to the Absolute, to a sense of ward. There is also a lot of meaning at the same time, and it seems that there are no them - everyone will find (or won't find) his cherished key. "The most important thing in any human situation is that it is unclear to the end. Together with the audiences should look for this output and should not find it, "says Actress Alexander Ursulak. You can say for sure: one exit, one door for everyone in the "drums in the night" is really no - it is fine.

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April 2, 2017 visited the play of Yuri Butusov "Drums in the night" in the theater. Pushkin. Impressions are very ambiguous.

Before that, I have already seen "Seull" Butusov and understood that it would be something extravagant. And not that I am a completely adherent classics, but I do not understand some things in this extravagance. Now I will explain. In the "drums", all heroes on stage are similar to Frikov: Men are dressed in women, smeared with makeup, etc. I'm not against disguised men in women, but for what? I love every action, every gesture, every word made sense. I did not see sense here. The same applies to the naked artist in the second act. I already have a big girl and saw naked men. But what's the point was the hero to undress to goals and shake his farm .. to undress, just to undress? So that the performance is called scandalous and wrote more about him in the press? I do not like this. This is not the art called the theater. This is already a show, I think.

However, this is only my opinion. And the fact that Butusov is one of the most fashionable theater director of our time, says that most viewers consider differently. Some, of course, leave the hall during an intermission, but such, I must say a little. And when I stood after the play in the queue in the wardrobe, I heard how someone said that this is the best that they were ever seen. There were those who said that they did not watch more nonsense. In general, everyone's impressions are different, but I can say for sure that there are no indifferent.

From myself, I can not say that I did not like the performance. No, I just wrote that I didn't like it, that I was outraged. Despite this, I want to note that it is very bright, dynamic, with good actors' game and emotions. Even in the performances of Butusov, there is always very good music (my playlist is pretty replenished), crazy dances and, at least at times, and a terrible, but beautiful picture.

In general, this is a performance that you still think, who remember some time. To some scenes, after rethinking, you begin to treat differently.

For example, at the end, the hero turns to the hall: "And you, what, waited for a romantic finale? Here's a (indecent gesture) "and sitting down watching TV, holding a waitress on his lap and crawling down dogs conquered his beloved. He also heso he says that he will no longer fight that he wants to multiply. That evening, when I watched this performance, I didn't like it all. Again, this is "creative reading the play" and the distortion of the plot. A few days later, this transfer from romance to reality, I even liked. Maybe to a naked man, and to the expressions "Hello, Ass, New Year", said it is not clear why, I will also be different in another way ..

In general, the play on an amateur. On a fan of phantasmagoria, hysteria and extravagant. I love spiritual things more, so I did not enter this performance. However, I still did not regret what I saw him.

Notes ATTANTANTA .№4. Pushkin Theater. Drums in the night (Bertold Brecht). Directed by Yuri Butusov. Put the Bucusov, you will find Breht. "Drums in the night" - the early play of Bertold Brecht, which the author considered "raw", not wanting to include in the collection of works and the fourth-time statement of German playwright for Yuri Butusov. Also, this is the fourth placed play for the fruit of St. Petersburg director in 2016 - only two months have left preparation for the premiere. In addition, in addition to the eternal theme of the relationship between men and women, the questions of rivalry, betrayal, social injustice, revolution, horror of war, the choice of the life path and the absurdity of human existence. It is simple, the action is "here and now": four years ago Andreas was to marry On Anna, but hit the front. Today, Anna is pregnant from Rich Friedrich, who makes her an offer. Anna cannot forget Andreas, but the parents, being on the side of the provided Friedrich persuade her to agree. The engagement is celebrated in the Picadilly Bar, which is dirty, broken, but alive Andreas. Receiving a collective rebuff from the Balique family, a former soldier drinks and adjoins the rebel (the action takes place on the background of the November revolution). A little later, having met his mind and found him, Anna Andreas immediately cools and makes a choice in favor of "lying in bed and multiply." Take the audience, who did not read the text are unlikely to guess about all the plot of peripetia, but will lose little from this, because Butusov will lose it How "is more important" that. " The provocateur, an adult rebellion, putting the early hooligan comedy Brecht turned everything from his legs on his head, turning the "comedy" (Brecht was written) to the infernal clownade, the gloomy hysteria, the inflamed conflict of all and everything. Initially tough, ruthless, nordic intonations in the text ("Now he rotted and earth", "he has no nose anymore," now his worms eat "," I have a mouth full of shit, "etc.) repeatedly reinforced stunning, The gripping interpretation, similar to the fruit of the sick imagination. Butusus is once again shocking the respected public, diverting out of it, exploding the text with meanings and using their trouble-free paradoxical arsenal. The text was taken by all the "most-most" and only in the case and reinforced by many hypertrophied contrasts: what is happening that very quickly, then slowly, it is staring loudly, then quietly, it is fascinating beautifully, it is ugly, then impessively-penetrate, then vulgar, then Fucking and soften, then it is detached. Confessional drama is replaced by a mysteriousness forcing the head. The white chaos is reigning on the stage, then the black vacuum. In obligatory order in the hellish director's mixture there are elements of the Brehtov "Epic Theater" - "distance", "observation", inclusion in the performance of the author himself: here, Timofey Tribunesev is reverent with an invisible voice, By the face of the broken Razor, Charles Balik, blood flies, so, conflicting characters are dragging each other by the hair. Their replicas are intended to cry, and the emotional striptease is completed by the striptease. The viewer is constantly confused: the poems of Pasternak sound from the scene, men of disguise in women and on the contrary, after silence, branded increments to the roar of sounds that enhance the overall anxiety and the obvious sensation of the tragedy, the increasing drama of which you feel literally skin. The visual row is full of sharp accents from color and light - Bright red-yellow skirt Anna, blood smeared by Andreas, a big red drum on an advance or unexpected fascinating installations from slowly descending luminous balls, as if soaring in the air. All these are receptions, tools and the automatic and stereotype of perception, there is no trace. The literal "Walquer's flight", more similar to the dance of St. Witt, takes place under the Röv Prodigy, the actors are frozen, they are convulced in synchronous cramps for a loud techno, and the wind tears the quenching floors of clothing. If it comes to the name of the performance about the "drums", then the drums will be many, whole mountains of a variety of drums: large and small. The drums will sound from the speakers and in them will definitely be to kash all the actors without exception. The world of Butusov, this is a spiny, cruel, ugly, non-harmonic world, a wildest animal, where people look like embarrassing puppets, unfortunate and insane clowns, whom the circumstances ruthlessly flow. Life checks people for strength. Yuri Butusov will not ceremony, shows characters from the worst side, reveals, as if by the pathologist, human souls. Inside there is only a rot: the protagonist is psycho, the bridegroom - Cynic, the bride - the hysterical, the father of the bride - the monster, the mother is scarecrow. Everyone is a victim. The characters are crippled, unwitted, sparkling, are tangled, are on the other side of the face of the nervous breakdown. This is no longer neurasthenika, but the daily psychopaths. There is no place for kindness or compassion. Everything that heroes remains - daring to yell on each other in despair. Characters do not live, but tolerate their fate, play roles, from the last strength to respect the decency. The star, the center of Schizophrenic Panofitikum, his "Queen" performed the actor "Satirona" Timofey of the Tribunets, organically played the main character - Andreas Kragler, to anyone, even his own bride is not the right soldier who returned from the war. This Friton, similar to an awkward scarecrow, appears in a white ballroom dress and female boots, it runs on the stage of Nagishche, then begging in the drum, it sits motionless, it goes in family shorts ("son-in-law - nefig take") or a dubbed Gutalin Like a Negro ("I - Negro Rukhlyad"). But in the final from his passionarity, there is no trace - in an embrace with his beloved, it turns into a sad "viewer". According to the spectral, the riddles are scattered and the symbols, the most memorable of which is "Jesus" with a tern wreath on the head and in white shortsing In the back background (it is shown on the program). Especially many of them on the second part of it, noticeably a pace. The pattern density is noticeably reduced, the action consists more of the directorial billets, flirting with the public rather than events from the plot. It was funny random gravity in Timofey Tribuntsev with twice fell out of the hands and broken from the blow of the floor of the floor. On the back, they show the black and white newsreel of the destroyed war houses - this is a tribute to the author's anti-war Pafos. But the characters themselves have long been turned into ruins, devastated by their personal inner war. In an interview, the director confesses that: "This is one of his favorite plays, very good, beautiful, romantic, social." But do not be deceived! The great and terrible Yuri Butusov as much as possible inside out and text, and characters, and actors, and after the audience, making it, as always, gambling. Using emotions, the director is connected to the nervous system of the audience and unscrews the virtual handle of the impact to the maximum. There is no chance to remain indifferent - goose bumps again. It is for them Butusov and love.

Since very few of the stakeholders of ticket holders at today, tomorrow's premiere have already looked, and even photographers pressed only the first part, to the intermission ... In general, retell seen - just to spoil. And I philosophize about what I saw - this I will not start soon.

Moreover, not all the performance absolutely lay down on the soul and decomposed on brain convictions. There were moments when I was just bored ... However, there were moments when I literally breathe was afraid - great! I even cried once ... Probably, in an unexpected for many, and personally for me is a compassionous moment ...

Several sketches ... Puzzles of them are those who expect the premiere, do not collect, but I need to speak a little.

... Glow - as if white Northern Lights in the Black Sky, which in one of the scenes will be blocked in the light of the fire ...

Destroyed to the base city ... What is this - Berlin or Volgograd, Aleppo or Grozny? ..

I do not know how in St. Petersburg, and in Moscow the director is increasing his artists more and more (seen "Othello" the selection of text will appreciate) ...

How different they run! And only one goes calmly - barefoot on the glare surface - like water ...

The phrase about pines is the only character of the phrase. And also - a lighter for a cigarette and gone hugging ... So he is on his side? ..

In the first scene - the beginning of the movement of static characters. It is worth tracing, in what order do they start moving? Or is it an accident and means nothing at all? ..

In general, all the actors play fine. I was pleased with the youth: on a par with Matrahm ...

Or (girlfriend, seeing the first photos from the play, wrote): Luminous "croup" in the appendage to the Bogomol "Trink" ...

If this is a falling stars, then why do they cover the ground with huge, able to kill, gradins? ..

Andreas in the final is similar to Erdmannsky subsector. Condemn? Then let the one who first quit the stone, and on the barricades goes in the forefront. Moreover, are they right on those who are there in newspaper blocks, painted white heavenly radiance in blood color? ..

So baby carriages or drawers for shells? ...

In general, before going today to watch the performance again, I will quote: "Alexander Sailors:" The work is not finished yet, everything changes, and until the last second will change. Continuous changes relate not only to artists, but text, light, sound. I will even take the courage - not sure about the final result on the premiere performances on November 11 and 12, in the days of the premiere. "

It's fine.

But - will leave (left from the runs). It is no longer annoying (although someone from the 20th left will definitely leave a review, in which, together with him, it will be "crawled" - ha!).

In the Moscow Drama Theater named after Pushkin on November 11, the premiere of the play "Drums in the night" director Yuri Butusov on the same featured play of the German playwright Bertolt Brecht. Circus and cabaret - Perhaps the main origins of the last performances of the butus mixing the enchanting framing and directly, sometimes a journalistic statement. In recent years, Butusov, despite its staged scope and a rich set of scenic effects, chose Brecht, one of his favorite authors - with his plays, wrote for the theater of direct impact, the theater of sharp, expressive, but at the same time ascetic and authentic luxury. In St. Petersburg there is his performance "Cabaret. Brecht, "and in the theater named after Pushkina, for almost three years they have been showing a" good man from Selyan. "

This time, Butuses took the early text of Breht, comedy (by defining the drama itself) "Drums in the night", written in 1919 (the second editorial office was made in 1954). The spectacle that lasts three and a half hours is actually a comedy genre - sometimes the bitter thoughts of Brecht, invested in the mouth of the main character, no one for the right soldier who returned from the war, from captivity, drown in the mass of inventive theater tricks, dissolve in extremely Saturated, dense musical and choreographic fabric of the performance. And only when the performance slows down the pace when the general, honeycomb scenic, the plan is replaced by a major and unprotected actor turns out to be one on one with the hall, the text about the unimportant device of this little star sounds distinctly and honest, as a personal experience of living in historical disasters.

The plot of a small plays of Brehta is simple: Andreas Kragler went to war and did not return; Four years later, Anna's bride is going to marry Murka's manufacturer, her father's partner. At the time of the engagement, Kralegler is returned, but Anna is already pregnant. The soldier goes to the Kabaki, to prostitutes, in blocks, where revolutionary proletarians will be awesome. But Anna is started with the following, and returned personal happiness devastates the political pathos of the offended Andreas, who declare new comrades and the public that he prefers the heroic death for the idea of \u200b\u200bthe idea.

The performance of Butusov is resolved in the cabaret style: the scene is decorated near the major, then glowing smooth white light, then flashing, light bulbs. There is a character, a girl in a male costume, with oversized white hair, with a comical wobbly - in the play, this is a waiter, but B Butus she is entertained (Anastasia Lebedeva), commenting on what is happening, declaring the intermission curtain and short breaks closely along the operation, with music or without music. There is an abundance of plastic numbers - sometimes the semantic (dance-revenge of Anna-Alexandra Ursulak, who fonds into the aggressive stealing of his biased the former groom, quietly sitting on a chair), sometimes just for the increase in energy. In the first act, the dramatic effect is also interrupted by some kind of techno, or a hip-hop, which actors are moving in a torn figure. All the leisurely beginning of the second act is filled with wordless, beautiful and sliding numbers, designed, apparently create a special atmosphere.

As often happens in the performances of Butusov, the actors are trying on their characters various masks marked by some catchy outdoor sign: white make-up, hurried red hair label and social status and mental state. Here are a lot of transformations, fights, contrary to a clear system of characters at Breht: A discharged prostitute went to a wig with white curls turns into Anna, at some point Alexander Ursulak and Timofey Tribunese change clothes, as if confusing in their own, including genderwords . Murk Alexandra Matrosov in the first act - ridiculous, in a suit of the Campner, a real limiting, having passed into "solid people" on the rear Farther. In the second - white clown, lonely burdening his child. True, this plug-in etude, too sentimental, literally forcing the viewer to sympathize, seems to be somehow overweight, not a subtle reception.

The chance to be at the heroes of the performance only in the exposure, since the body is truthful of words. Lucky, non-pieces, almost pitiful hero Timofey Tribuntsev, brought to panties in front of luxury friki in wigs, bays, tuxedo and dresses with loops, already this bold detail as if she was doomed to victory.

As it happens in the performances of Butusov (to start with the same phrase, every paragraph, in general, awkward, but "drums in the night" in many ways - the digest of favorite techniques of the director), the reality is mental and sensual not less tangible than the reality is actual. According to Andreas's plot, he has not yet returned from Africa, but the Hero of the Tribuntsev in a wedding, with pink subteps, the dress is on stage from the very beginning, and everything that does or say Anna, she makes his presence in the house. However, and the "ghost" himself is not deducted from comments, giving a dramatic content a comic fold. In addition, in addition to theatrical paint, there is a key to understanding the status of Andreas, whose existence is questioned all the time, whose life proceeds somewhere on the border with the oblivion of death.

Despite the tight fabric of the performance, which plays the inventiveness and colorful of the rooms, despite the aggressive musical and plastic form, a somewhat attached and word, and philosophy, and the socio-political subtexts of the play, the "drums in the night" as if they pushed the heroes of the play: the top of the people suffering With which, unlike the environment - parents, visitors of the Piccadilly fashion bar and democratic peers with tanks and drums instead of tables - the complexity is allowed, the volume is allowed. The situation is allowed to the mask. It is especially difficult to Alexander Ursulak: Will, the attraction of her heroine is played primarily in plastic, pauses, gestures. Timofey Tribunets, actor Butusov still in Satiron's era, - at the same time the main opponent and the center of the performance. His figure herself, who does not go favorable poses, his deaf, a nomuzkal voice, everyday intonation, which does not recognize rice and defects - all this seems to be in opposition to this bright, complex world, and it is this opposition that creates stress. Prematurely murgerated by the groom, an annoying interference of somehow arranged life, soldiers with a bandaged head and bloody spots instead of eyes, smeared by Vax's naked African native with a drum - the hero of Tribunsev quickly changes the masks for a short one and again hide under the new larger.

In the performance of Butusov, there is no that tough social opposition, which is scheduled in the text of Brecht: the rivalry of a soldier with a manufacturer who fit in war, here everything is concentrated in the field of intimate and decided lyrically. Alexander Satrosov, who remembered on the previous spectrum Budvikov in the role of waterproof, shows his Murka character no less significant than his opponent. Its longing and rage breaks through the mask of the caricature blades. It seems that everything is against it: and ridiculous white gloves, and butterfly, and lacquer shoes, and a fussy brawd, forcing me to go to Piccadilly in a turbulent night, and then the excitement from your own success, which he is unable to hide, and the money he Summates an unfortunate soldier who returned from the world. But there is another - despair with whom Murk proves, first of all, herself that has the right to happiness, that fear that he ships his movement and that not knitting with the imaging of the owner of life the gullibility with which he pours to the bride and admits her In its own weakness. Murk is confused, and this disorientation becomes its indulgence.

In the "drums in the night" there is also a performance in the play, and a newsreel with frames of crushed Berlin and the construction of the Berlin Wall, from which the hair stands on end, - True, this document is so self-sufficient that it risks tipping over the world created on the scene. Performance, albeit bizarre, with the help of a whole palette of non-obvious associations, but still a retelling play, joins the text in the final in the final. The Brehtov Hero, who lost his head from a prosperous outcome, threw the revolution and sought home - this short, ironic, but sympathy vignette in the performance of Butusov turns into a full-fledged, detailed scene. Somehow sharply aged Andreas, in the checkered jacket on the size more, in glasses with a heavy rim, it is hung with a kettle, watering the flower in a pot, sitting in front of the TV. Nearby, on the armrest, a well-groomed, dressed in modern Anna, from another side - another woman, a little blonde. All three with this self-confident provincial life is quite unpleasant. And suddenly the performance seemed to see all three hours of spectacle expensive, highly qualified and, out of doubt, the bourgeois, made in the bourgeois theater for the bourgeois public, turns around the anti-bourgeois, an anti-library statement. To believe the final or the rest of the rest - the question of perception.