Warsaw melody with Danil Kozlovsky. You are my melody

L. Zorin. "Warsaw Melody". Small dramatic theater - theater of Europe.
Artistic Director of Lev Dodin, Director Sergey Schopitsin, Artist Alexey Raji-Kositz

"Ah, Pan-Panov, ah, Pan Panov, there is no heat for both a penny ..."

Gelena Velikanova sang a cult cycle "Polish" songs Bulat Okudzhava - Agneshki Odesetska to the Svetka "Contemporary" "Taste of Cherish" about the same 1960s, when the Polish singer Gelena sang in the cult "Warsaw Melody" on many scenes of the USSR. Different songs sounded in different theaters, but all the "Warsaw melodies" (Julia Borisov in Moscow, Lyudmila Kryachun in Sverdlovsk ...) protested against the borders, totalitarian laws, Soviet careerism and male fabric. Leningrad melody has sounded for many years, flowing and overflowing by the soft Polish "The" Alice Freindlich, who played the legendary history of love in those years when he began to engage in the director Lion Domin.

"What was, then swung, that would not be right ..." - Sang Gelen Velikanova. Today, forty years later, Dodin goes to the scene to the gray-tree art director of the production of his student Sergey Shpitin, who made a spectacle with classmates.

"This play can not be played! What kind of condive text ... "- I hear the colleagues after the premiere. Like, the story was outdated about how I met at the concert of Chopin and fell in love with each other a conservatory student and the future winemaker Victor (winner!), As the law prohibiting marriages with foreigners, and how two more meetings were with a difference in ten years - At first in Warsaw, then at the concert of the famous singer gelesen in Moscow. And as the Polish girl turned out to be a person who could love all his life, to sing his "Warsaw Melody" for many years, and the Soviet "winner", to whom the bear came on the ear (read - soul), did his career ... Is the story outdated? In the realities - probably, and today's young viewer is difficult to understand why the Soviet travel team arrived in Warsaw in 1957 is afraid to remove from the hotel at night with his beloved woman. But, I suppose today's succeeding winemaker, who arrived in the capital for the day from Krasnodar (the third act of the play), is quite capable of understanding the torment of a business person, decisive - the company of the company or a nostalgic date? ..

Yes, it's not even this. The story of love and conformistic betrayal is not outdated, the subordination of the circumstances that we do not choose.

It is important which particular note to take in this melody, which plot to deteriorate, which score is played.

Photo V. Vasilyev

Alexey Raji-Kositz (using David Borovsky's ideas) a lot told her design. On Tonogi Museum, placed on the white "winter" scene, are music sheets with different melodies - choose anyone and play the music of your life. On thin rogue-shutters, the pugitres with notes are lit. I scrolling there and here, they look like "music spheres" or the starry sky above us (after all, the play is about the moral law within us ...). At these events you can sit, you can climb. And every time the tonkonogaya gelena, leaving Victor on Earth, rises up to descend through the time already different. Not a pale girl in a brown dress, but an elegant Polish pan in a mini-skirt and a hat (oh, "Zucchini 13 chairs" of the same 60s - a black and white television window to Europe with fashionable panels in exactly such costumes!). Not fragile Warsaw celebrity, ready ("stiguously poly!") Throw all your well-being for love, but a strong, business, tired "Anna Herman" in a concert dress, soberly looking at things, but ... again ready to run.

"And the cold morning will wake up. And no one will come here ... "

The play was taken because the course of Dodina studied Ursula Magdalena Malka, natural polka. I do not need to imitate. Malka nervously and seriously leads his melody. Only she was not lucky with a partner.

With Victors - the winners there were always problems. "You're, then I, then I, then you ..." Sang Alisa Freindlich, but these swings (then she, then he) did not work, partners of Freindlich only accompanied her amazing solo (only for a short time Viktor became Anatoly Solonitsyn).

W. Malka (gel), D. Kozlovsky (Victor).
Photo V. Vasilyev

I did not see Mikhail Ulyanov, who was sat down - as a jacket on the spirits of the hero, and the current Victor - Danil Kozlovsky, a new glamorous young hero of MDT, as if came from the war, and from the modern series about the pose of lieutenants, from the very beginning hopelessly fake note and, we must give him due, in good faith pulls it to the end, without allowing a single moment of authenticity. He seems to have no eyes, but there is only a mouth, intensively articulating words here is not the first role. Pouring later, which testifies to a colossal psychophysical clina, Kozlovsky diligently, with the effort of the first student, "Starny" and thoughtlessly shows itself from the favorable side, believing that the favorable side is not a profile, but directly the FAS with a stretched "Hollywood" smile ... , constantly wanting to turn face to the hall, it is difficult for him ... Of all the feelings, Kozlovsky clearly broadcasts one thing - the feeling of joyful self-love: young, it is believed to be beautiful. Self love, of course, can be the characteristics of the character, Victor, but, alas, belongs to the performer. And it turns out that Ursula Malka beats about the partner - as a wall. At the same time, Kozlovsky does not feel like an accompaniment, like once Anatoly Semenov in a duet with Freindlich, he wants to solo. Only him, like his hero, "the bear has come on the ear."

So they pull this melody: one - nervously, insecure and purely, the other - the victoriously fake and not even driving himself with the variation of the "offered": ten years have passed ... ten more ...

What are they singing about?

W. Malka (gel).
Photo V. Vasilyev

She - about the ability of an outstanding woman to uncomply love, about the "turning" of the ugly duckling into the beauty, about how the inner steel is tempered in every woman, about male pragmatism, to confront those un-laz-buttons.

"Without love and heat so the nature of Gorky. Crowded a crowd of beer stall ... "

He is pressing the keys to some kind of income gamut, but the motive of internal acting perplexes occurs: what is the problem actually? Actor D. Kozlovsky, as it were, supports the hero of Victor his own, the worldview: Guys, what's the point? Everything was right! Life succeeded! He, Victor, succeeded, defended his doctoral, she, gel, - in dense touring mode, both successful, make it something else to wish? On bouquet bouquets - in two jumps, almost flips! Winner!

Where does this intonation come from, this random turn by the interpretation? I think, not from the initial design of the young S. Shchitin, and from the general mood of time, which is stronger than any idea, from the success of the theater where the performance is going, in general, from the category of "success", corrosive consciousness. Good luck - synonymous with joy, success - synonymous happiness, comfort - synonymous with love. Zorin wrote just that success has nothing to do with happiness, but ...

"But she loomed an end to the carnival. The autumn leaf flies like the separation of the messenger ... "

"Warsaw Melody" is an old-fashioned play about "other love". In the play of the new time, "heat is not on neither penny", the hall is often laughing on the cultural melodrama of the 60s that does not touch the heart. After all, if we proceed from today's pragmatic norms - everything is right, it's not about to regret anything - "What was - it was, that would not be right"!

« ... will be a long night on the cold earth. And the cold morning will wake up. And no one will come here ..."- Sang Velikanov poems Okudzhava.

The deep works about love are always relevant, therefore, to the play of Leonid Zorin "Warsaw Melody", written back in the 60s, many directors are treated. In the repertoire of the European Theater, the play in the new formulation of L. Dodina appeared in 2007 and since then it collects the full halls.
Touching and sad story continues to worry the audience hearts. The public empathizes the heroes, the lovers shared the circumstances and borders, they managed to carry their feelings through the years, but did not become happy. The next show of the play "Warsaw Melody" in MDT will be held in the spring and will allow you to touch the chronicle of two destinies.

"Warsaw Melody" - Performance

The new production has grown out of the thesis performance of two talented students of the director L. Dodina: Ursula Malki and Evgenia Sannikov. Successful student work strengthened, crystallized and decorated the repertoire of the theater. The choice of material turned out to be no closer, because the artist, like her heroine, came to learn from Poland. Ursula plays great, hitting the naturalness of the image, and in her speech it catches an easy accent, which is so by the way ...
The content of the chamber performance "Warsaw Melody", carries the viewer to post-war Moscow. In the play only two characters. He is a former front-line with the name of the winner - Victor and came to the capital to study winemaking, she is Polka Gelegen, the future singer, and now a conservatory student.

The will of fate, they turn out to be at the concert of classical music, their chairs are near. Sopin sounds, accidentally abandoned glances, nascent feelings growing into a stormy and passionate novel. Explanations, hopes, plans. And all this collapses in an instant: there is a law prohibiting marriage with foreign citizens.
Victor and Gelena are found again in ten years, they walk around Warsaw, plunge into memories. Both families have a good career, but are they happy?
Time flies inexorably, ten years behind. And the new meeting is already in Moscow. Unfortunate marriages broke, it seems that the holding pushes them into an embrace. But everyone is dressed by his own way, afraid to change his well-minded life. Sad finals, but such a familiar for many in the auditorium, which can be read about "Warsaw Melodies".
Theatrical action goes two hours with a quarter. And all this time, the attention of St. Petersburg sitting in the hall is riveted to the acting tender of the play "Warsaw Melody", which keeps them with an iron grip of a talented game.

Scenography of the "Warsaw Melody"

Scenery on the stage at least: chairs, pugitra with laid scores. And hanging on a white wide strip hanging from grateful, symbolizing the time and road of life. On it, the artist-designer A. Raji-Koshitz placed theatrical staff, they depict a notebook, in the role of notes.

Under the directorial idea, the white fabric in the final part of the play "Warsaw melody in St. Petersburg is stretched, crashed apart attributes, as the dreams and hopes of heroes of lovers collapsed.
For musical accompaniment of theatrical act, Music Chopin, Wars, Frakdina is chosen.
According to the viewers' reviews, the play "Warsaw Melody" in MDT is very lyric with a shade of gentle sadness. Highly appreciate the thin acting game and interesting stage design.
Buy tickets for "Warsaw Melody" to see a beautiful performance, you can two click on our site.
The metro station "Dostoevskaya and Vladimirskaya" coming from the stage platform.

*
"Warsaw Melody", L. Dodin, Small Drama Theater, St. Petersburg, 2007. (eight)

Director masterfully switches the register right along the performance.
At the beginning, everything goes through the actors, the first part of played on a young organcient and charm. Doubts will be able to keep the attention of the thousandth hall of the Small Theater yesterday, they immediately dissipated, the hall from the very first replicas turned on, the experienced viewer it feels "skin."
Then, when the plot becomes schematic and by and large, Banalen (meeting 10 years later, meeting 20 years later), and it is difficult to expect a full reincarnation from students to another age, comes to the fore.

"Warsaw Melody" Zorina is one of the most popular Soviet plays, it has many advantages. Classic structure (play on love for two actors); Conignation of private history with a movement of big history; Bright and contrasting male and female images, and even with development; Suitable plot plan (love story) and existential second bottom (the fate of a person).

But there are a couple of moments that make a play more "popular" than "classic".

The time of action is divided into three segments: 1946-7, 1956, 1966 (for the first places of the play, the last segment meant - "Nowadays," now all this is retro, three layers of archaeological excavations).
The first part, the actual love story with the unfortunate finals, is written perfectly, fresh, witty, it is a dramatic core.
The two remaining parts are afterword (10 years have passed) and after-sanguilding (20 years have passed) - schematically and by and large banal. But Zorin also has the third afterword (50 years have passed) - the Piece "Crossroads" ("Warsaw Melody-98"), it was put in the theater namedermolova and there dramatic tension completely subsides.

Here, by the way, what I do not like the loved one's favorite movie "Love Mood" - the same banal literary final ("And now they met many years later, ") It's very similar finals like each other and have long turned into a dramaturgical stamp.

In the play of MDT, the director masterfully emphasized the merits of the play and tried to hide her flaws as much as possible.
The first part was played by young actors, yesterday's students, vividly, soulful, touching - as students can play and should play.
And the director here is not only "pedagogical", here it is not "director dying in the actors", the first part is "delivered".
First, the story of love is immediately taken in brackets, as a "memories" (the hero appears from the hall - the uncle in glasses, in the winter coat and in the header, and only then he is young, turns into himself 20 years ago).
And, secondly, the scenes are played precisely as memories, episodes are not separated from each other, but they float each other, without breaking over time / place.

When setting the following parts, theatrical interest is heated by the fact that the actors are given the opportunity to play age, but this time did not work. Actors are reworked. She is not very convincing in the role of "Stars", Charizma is missing. And he has already played all the "age-related changes" during the first exit and now chews, solves the task with an already known answer.
And here the director brings backwards to the fore. Some emergence of the acting duet he compensates for a more intense metaphorical plan.

Clouds like piano notes

Scenography in the performance - meaningful, shaped, alive, dynamic. And after all, it is made literally from nothing, vertical pugitres with notes and five horizontal pipes - musical lines.
The picture and at the beginning of the performance is good - "white on white" (White sheets of notes on a white background of the backbone). Beautiful background for the history of love, which began in the conservatory and develops as a melody (from Chopin lyrical to Chopin dramatic). Melody is a keyword in the title, the performance is delivered as a melody. At the beginning of the melody from purely played notes arises in the acting duet. Then in the role of melodies - stage space, scenery.
The farther, the more, the background begins to move, play, sound. Light camp rises into the sky. On the tank line rises under the grate (leaving Poland) heroine. On the tank line as a swing, lovers are swinging. Active, dynamic set design - branded, the strong side of the Dodinsky performances (from the "House" and "Brothers and Sisters" to "Cheving").
The idea of \u200b\u200bthis scenery belongs to David Borovsky, which refers to the clouds-pillows from the very lyrical performance of the theater on the Taganka "Hope Little Orchestrick". In the climax starts the white cloth of the backbone, dropping props (so rushing from white sheet of drinkers in "Cheving") - Easy and transparent metaphor of historical flux.

The first part of the performance was especially interesting to me, because the time of action, 1946-1947, a special turning point in history. Unlike the famous great fracture of 1929-1930, this fracture was implicit, closed, which represents a greater riddle. And in the play and in the play, a closed fracture is shown. The victorious mood, a new geopolitical reality - the Polish student is studying at the Moscow Conservatory, and the fateful for the private history of love Decree on banning marriages with foreigners. The state is the external force, which first brought the heroes, made them possible to meet, and then spread, reheated their fate. The ill-fated decree seems to me the event of a sign and for a big story, as one of the evidence of a closed fracture in the state, as a clear sign of slack, cowardice, something unnatural (after all, it is natural that the winners take foreigners' wives).
There was a moment of a historical fork, for some time the country ranged before the choice, there was a sufficient potential for the jerk, in order to jump out of the historical king of a given civil war, to close the civil war, crossed it to the War of Patriotic. But it was frightened, broke, left in a rolling rut.
The faint of the state of the winner is somehow rhymes with the male insufficiency of the hero, because his name is speaking - Victor, winner.
For the first time, the love story was interrupted, because a big story made a steep reversal, the land left under his feet, they did not resist. Heroes are nothing to reproach, they tried, but there is no reception against scrap. And apparently, for the time they were given a second chance. After 10 years, when external obstacles were no longer insurmountable. But the hero did not take advantage of this chance, now the courage was not enough, the closed fracture made itself felt (here Vysotsky did not have this "closed fracture", his story proves the real possibility of another path).
When the third chance appeared, there were no external obstacles left, but no desire remains. There is opportunities, but I don't want to live (as the old man Kant said "When I needed a woman, I didn't have money for her, and when the money appeared, I was not needed." :).
In the fate of the hero, there is a rhyme with the destiny of the country, the closed fracture of 1946 was never favored, he manifested itself gradually, after many years, when the country gradually disappeared the desire to live and instinct self-preservation.

Thus, the performance of a dat is an excellent addition to "Full course of the history of the USSR in 30 performances" CHAPTER 4 exactly corresponds to the chronological framework of the Pieces - 1946-1966.

Student Cabinar Technical School

And one more thing confuses me in the play - elitism, "an extraordinary story that happened with extraordinary people." Heroes are not simple, profession the most exotic and social status of general. Straight Love Story for the glossy magazine (from the Merilin Monroe and Di Majo series, Edith Piaf and Marcel Surdan).
The famous singer and doctor of winemaking, looks even more exotic than the stewardess and physicist in the "104 pages about love" Radzinsky.
The winemaker is also not a male ("writer of bouquets", almost perfume :), another thing, if the hero had been from Moldova or Georgia, and Russia is not a winery country.
The fact that the heroine becomes famous (posters, tour) strengthens the dramatic effect (not only that the Poles, so also the star, the absolute "dream woman"). But the glamorous profession of the hero only weakens the dramatic tension, reduces the distance between the poles.
Only from the point of view of glamority so dramatic looks like a link to Krasnodar (like a bummer, could be Warsaw, Europe, and here there is some kind of roofing, full of Asia :), and his zamanka in response to her question about the profession of his wife (really say - "She works as a senior economist in SMU number nine").
If the afterword is a dramaturgical banality, then the elitism can be considered a kind of dramatic doping - in this case it is easier to answer the question about the character "Who is he?", And the playwright is easier to write about "his circle". The playwrights of the first row were able to do without such bait (we don't know whether the Shervinsky famous singer began, and the Laro Academician, and maybe they were crushed into a CC or died of typhus, or became ordinary Soviet people).

It is very good that in the play MDT did not succumb to the temptation to play the glamority of the characters and did not focus on winemaking. The hero is not at all similar to the student of the Cabinar Technical School. By and large, absolutely no matter where Victor learns - in the food institute, in the chemical and technological or at the Institute of Steel and Alloys. Both heroes look easier here and naturally, without a gloss. After all, she is not "proud Poles", the Polish charm is poured, but it has much more simplicity and naturalness, female weakness than the goning. Ursula Malka - Natural Pole, but it is absolutely not noticeable that she has to translate, and she has exactly in moderation (maybe the actress also belongs to the words, helen her father - teach Russian, will come in handy).
Danila Kozlovsky is very convincing and in the role of a young Frontovik-Frontovik of 1946 (by the way, the actor finished the Kronstadsky Sea Cadet Corps - and it can be seen), and in the role of uncle in glasses of 1966 (but it was necessary to "play", here the props Helped - Cap-Pattake, Karakul Collar).

Having on the course of two such students - the pool and graduate of the Cadet Corps, it is impossible not to put the "Warsaw Melody".

"Warsaw Melody" is a touching story from the recent, but already well-forgotten Soviet past. This is a story about missed not by their will opportunities and past time, that love is a very fragile and invaluable gift, over which time, it turns out, is not so unfortunately. For many years over the dramatic scenes of this play, L. Zorina shed tears of theater of different generations, but today it sounds especially bright, reflecting the entire absurdity of the Soviet regime and its degrading effect on the fate of people. The new reading of this story by Lvoma Dodin together with Sergey Schpitizhn was created by the wonderful performance of the Small Drama Theater "Warsaw Melody": Many buy tickets for this production.

In fact, there were many such stories in the past: the Russian guy falls in love with a foreigner. But they cannot be together due to the stupid law prohibiting marriage with foreigners. Lovers remain only meetings - once every 10 years. Both of them are changing, everyone has their own life, and in the end it becomes clear that to be together they are simply not necessary, and if you want? Together with the audience, who bought tickets to the "Warsaw Melody" MDT, Dodin reflectures in the recent past, remembering at the same time and that good that it was: music, youth, love ... and weightless, as if from a magical sleep, scenery. -Koshitsa strengthen the impression that the external realities are illusory and unsubscribe, and only true feelings are important.

Artistic Director of Lev Dodin

Artist Alexey Radi-Kositz
(Using the idea of \u200b\u200bDavid Borovsky)

Director Sergey Schopitsin
(Student V Course Workshop Lion Dodina, Premigree Practice)

Gel - Ursula Magdalena Malka

Victor - Danil Kozlovsky

Funny, ridiculous girl speaking with a Polish accent, a conservatory student, the future great singer. And the young man, the last war, the Budine winemaker, technologist, the creator of wine. They met at the concert, where Chopin played, sat down next to the side and suddenly, this story began. Love story. They laughed, talked about life and prohibited talking about war, they learned to understand each other and invented "ideas" - kissed in the museum for statues. They met together 1947, he gave her red shoes, which she dreamed of, and she is a tie, and after all, he never bore ties! They were together - Gelena and Victor, danced on the chairs, walked on strakinets, which five, past music, to the music. And it seems that Victor screams correctly, how can this inhuman law be related to them, prohibiting marriage with foreigners! After all, they love ... But they are just students, and that they can do with the country, with the state, with Stalin and with the law? He leaves for Krasnodar, she is in Poland. They are found in 10 years - gel and Vitek, in Poland. She is a famous singer, he is a Tallati winemaker. They have families, and life seems to have not ended then, in 47. But what to do with the fact that she can't live without him that she remembers him every day that she sees him at every concert - in 4 row, what to do it with what she can't let him go? And he is a Soviet citizen and disciplined returns to sleep in the hotel, and does not go anywhere, does not go spend the night - with her. And she flies back to his life - leaves for a ceiling on a strakinet.
And after another 10 years, they are again found - in Moscow. She has a concert, and he - in her dressing room gives her wine. She is divorced, his wife is now someone else's wife. But do not return anything. Already too late to change something. He is no longer a brazen decisive student, and she is not a straight naive girl. Life has inexorably changed them, and how can I enter the river that has already been leaking? "Time is always lacking - and this is good," says Victor, breaking the piece of paper with her room in a hotel. He will not call, will not come, and who needs it? Life ended for them then, in 46, when they together listened to Chopin ...

Music, scenery - everything is fine, all in the tone of the spectral, everything is tensioned on one string. But - everything went past me. It's just not my theater, it's just not mine. The performance is wonderful. Ursula Malka plays amazingly easy, gently, fine. Danila Kozlovsky left a strange impression of his manner of the game, but it is impossible to say him that he plays badly.
Just "not mine." A stranger, the constant feeling of the "wall" between what is happening on the stage and the hall. Despite the fact that the action partially passes between the rows. Purely Moscow approach to creating a performance. Not bad, no, just not mine. I'm closer my, native, St. Petersburg. Youthls are not in vain called a real St. Petersburg theater. In any performance, the viewer is a participant of the action, along with actors. In any play - "flirting" with the hall, in the very good sense of the word. And I love this.
And "Warsaw Melody" as if seen in the movie theater film. Beautiful, amazing, talented, but throughout the action you clearly understand that this is not really true, it's just a game.
I am glad that I visited MDT that I looked at this performance that I saw what "St. Petersburg Fomenko" DODIN. This is valuable. But did not leave emotions.