Spectacle " Groom Time"In contemporaries, he ruled the young and promising director Yegor Reudov. The basis of the performance was formed by the work of a little-known author Elena Chizhova, which describes the life of three Soviet women living in a communal apartment. The young director managed to convey the originality of those years. The nostalgic mood about the past covers the entire auditorium, which is very warm on the soul.

The play "Time of Women" is a story about the life of three women who brought up a neighbor daughter for a communal apartment. Initially, the story goes from the mother of the girl, Antonina, and then from the Girl itself, who became famous artist. Love, misfortune, betrayal, joy, good, evil ... All this can be smelted when viewing this production. The performance was saturated with nostalgic feelings along the Soviet era. And on stage managed to create an amazing atmosphere of municipal and very difficult life with his positive and negative parties.

The statement of women is interesting and easy to understand. AND buy tickets for the play "Time of Women" in the theater in a contemporary It is necessary in advance because the places in the auditorium are bought quite quickly.

Performance "Time of Women" in the theater "Contemporary"

Naive story

The action takes place in Leningrad at the turn of the 50s and 1960s of the XX century.

The idea was based on the same novel, for which his author, Elena Chizhov in 2009 received the literary premium "Russian Booker".

For the director of the play of the young director Egor Reudova ("Women's time" - the second job, the debut was the play "under pressure 1-3" in Ramut) was important as a story, so the entire palette of expressive funds, with the help of which Chizhov told her. The effect of the novel occurs in Leningrad at the turn of the 50s and 1960s of the twentieth century. Despite the documentary accuracy of the details with which the life of a communal apartment is described in the novel, the chizova text cannot be called domestic. That is why the famous Theater artist Maria Mitrofanova, who created an unusual, but very precisely working on the general directorial concept of the performance on another stage of the "contemporary concept" of the Soviet, but very precisely working for the general director of the performance, which connects two reservoirs of the novel on the other scene of the contemporary concept of the performance to another scene.

Achritis Alena Babenko fell in the coming premiere of a difficult task: she plays two roles - the mother Antonina, the Leningrad Limitchitsa, who dies, having relieved in his factory, and the daughter of Suzanne (in baptism - Sophia), a girl-artist, in which three St. Petersburg grandmas have invested all - From the right to life to the knowledge of French.

Music themes of the play "Women's Time": "I'm a fool to want you" (Joel Herron | Frank Sinatra) performed by Frank Sinatra, Billie Holiday, Ketty Lester, Russian People's Song "Somehow Early Increasing ..." and Lullaby " Sleep my child. "

Event of the formulation is performed in Leningrad half a century ago. Although Elena Chizhov's novel depicts the existence of an apartment with documentary subtleties - communal, her work is not called ordinary. The actually Yegor denudes in collaboration with the popular artist of the theater of Masha Mitrofanova, created on the other of the arose-strange stage, but a very clearly active scenery from two tiers, uniting two different layers of heroes - genuine and in the play "Time of Women", is a fictional.

The formulation is carried by emotions of nostalgia on the epochs of communal apartments and good human relationships. The heroine is voluten and with temperament performed by Alena Babenko. In the formulation of it fell a difficult task: to fulfill the immediate two roles - Mamasha Antonina and her daughter Susannu (Sophia).

The quiet limit is tone, working and having tasting health at a difficult factory, seduced by the local "shoe", a beautiful daughter was born. Soon, the mother died, having visited the development of the Girly to three St. Petersburg grandmas, acquired pension literacy in the king, her neighbors on communal, - glycryia, Evdokia and Ariadne.

Evgeny Dudesov tells the performance with support for small group, as part of which eight actors in the face of Lyudmila Krylova (Glycryia), Svetlana Korkushko (Evdokia), Taisiya Miholap (Ariadne), Inna Timofeeva, Rogvold Suchovero, Sergey Girin and debuting Evgenia Matveyev.

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Excerpt from the play

Women's time. Theater contemporary. Press about the play

INFOX .RU, April 25, 2011

Alla Shenderova

Onions running on spirituality

Blocked old women do not harm flour. The actresses cry, and the audience is not. In the "contemporary" there was a performance "time of women" on the novel by the laureate of the Russian Booker, Elena Chizhova.

In the three nites Child without glaze

Director Egor Reudov - a recent graduate of Sergey Genovac. The very course, four graduates of which received a collective "golden mask" for the project "Young Directors - Children", implemented last season at Ramut. A year ago, Yegor himself, who put the hard, stylish performance "under pressure 1-3" on the play of the modern German author of Roland Schimmelpfening on the play. It can be said that the director of the denudes - from those young, whose names are made to add the epithet "promising".

Why he decided to put on the other scene of the "contemporary" Roman Elena Chizova ("Russian buoy" -2009), it seems to be clear. This is a passionate prose - such usually chooses for the statements, Sergey Zeeman's teacher. "The time of women" tells about three generations of St. Petersburg, lonely inhabitants of the communal, who survived all their relatives and who growed someone else's granddaughter, about the village limitchice tone, who spent in the city, and her deaf-and-donkey, who spoke only after the death of the mother. In the novel - several multi-time heroines, that is, the roles are also for the elderly, and for young executors.

However, the feminist start played with a young director of a dick joke. Instead of the exquisite psychological theater (this director could well claim), this director could have come out for lonely fans of "spirituality", unless, of course, understand the spiritual false flares and sincere tears, protruding after growing the bulb.

The game is published

Three old women are sitting under a cozy yellow lamp by a long table: Strict, Bass Evdokia (Tamara Degtyareva), Cooked intelligent Ariadne (Taisiya Licholap) and smiling, sweet-haired glycheria (Lyudmila Krylova). On the stove, which artist Maria Mitrofanova puts right before the first next, boils the teapot and are waiting for three custard kettle. The old women are ceremoniously pouring tea and familiar to the Module, a rustic tone, a single mother, who instilled in their communal plant.

Tonya cuts onions, hastily telling the audience, as arrived from the village, as he met at the "man" stop. Further, plastic paraphrase on the topic of the film "Moscow does not believe in tears": the artist and harmony of Evgeny Matveyev picks up ones in hand and beautifully takes into the darkness. Appearing again, Tonya reports that he wanted to get rid of the child, but the doctor said late, then he wanted to send a newborn to the mother to the village, but the old women did not give greedy to his youth and began to hurt themselves.

And Tonya, and her daughter Suzanne (the old women did not accept the "Busurma" named after and dubbed the girl Sofia) playing Alena Babenko. In both roles, it seems to be truthful, a sober confession grew up and ended with the artist Susanna gives her also good as singers talking and shy views of the village Tony. But something from the very beginning hinders to sympathize with Ton: and the rustic naivety, and fussy movement, and the manner of cutting onions, thickly considering the husk (as her heroine would never have done) - all this slightly resembles a cartoon. Cartoon, the farther, the more, it seems the game of her senior partner. They say so singly, so often look into the hall, looking for support from the viewer, that even the ritual of shrinking flour, the sacred for the blockades, is carried out in principle, which makes the flour with plenty. In part, they provoke them to this director, causing it later in the same flour to diverge - the reality in the performance is interspersed with the Gresses of the heroine.

The further the action moves, the greater there are such inaccurate rituals, approximate metaphor, deliberate beautifulness and, as a result, pseudo-seeing intonations, pseudo-excited views. The secondary seems to be even a tragic mitanesezen, in which dying from cancer thumbs falls on the tiptoe and for the first time in life is taken to dance. Everything seems to be true: death gives exemption, but here you remember how many times we met a similar metaphor from other directories, and compassion comes down.

As a result, the actresses cry, straight poured with tears, and the audience sits quite indifferent. It is possible to cry only the audience of the first rows, endowed with a particularly sharp sense - on the stage constantly cut onion.

RG, April 29, 2011

Alena Karas.

Women's time

Young directors continue expansion

The fact that without a new directorial generation of the Russian Theater as an art institution bend in the next decade - many people understand. Galina Volchek and Alexey Borodin turned out to be the most reasonable, in the last two seasons, providing their players with young. On the other scene of the "contemporary" just one after another came out two performances of graduates of the Russian Academy (now the University) of theatrical art.

Cyril Pulloptov, student Oleg Kudryashov, made his own stage in two stories Chekhov - "Teacher of Literature" and "Fear". The name of this stage version is "Seryozha" (named Teacher of the Literature Nikitina) - Much explains in the intent. The flow of infantality, exciting all the ages and states, a shameless spiritual deafness, overtaking so early that their owners themselves lead to a tear and even despair, the inability to feel long and deeply, giving up first and rapid emotions, the life of the boredom - the favorite Chekhov motive - that's what it becomes The nerve and meaning of the repertoire debut of Cyril Vodoptov in the "Contemporary". In his elegant, thin directorial score, close style of Fomenkovsky etude revelations, you can hardly find out the participant of the Radical Moscow Liquid Theater, working in the Site Specific genre, which creates the situation of the theater in the most unusual spaces.

The space that was invented by the extract and artist Anastasia Bugayeva, arranged as an arrangement of the architectural environment. Long wall (urban, school, and, in the end - metaphysical), which occupies most of the scenic space, in the first part ("Teacher of Literature") is given to school doodles, lovers of Pushkin and Maiden Twitter (Gymnasists twitched Daria Belousov, Elena Plaksina and Polina Rashkin). Here, a young teacher, who makes a proposal to a pretty schoolgirl Menus (Charming Daria Belousov), only begins his way to a married void swamp (almost as Andrei in the "three sisters"). Playing His Nikita Efremov (the grandson of the founder of the theater "Contemporary") in the second part of the performance ("fear") from a happy young man who worries only unread lescing, turns into a man devastated by a life routine, in vain who hesitated his friend Marjo Sergeyevna, played by Elena Plaksina but close to the tragedy. In this part of the wall becomes a sign of that turbid deafness of life, which Chekhov acquires the power of ancient rock destroying in its path of guilty and innocent.

A huge black pit, spreading at the end of the first part to bury the ridiculous and lonely teacher of the history of Ippolit Ippolitovich, becomes in the second - the real cellar and the way of that heavy, "basement", the buried state, which is experiencing his heroes. Randomly deceased lonely, deep, but some ridiculous hippolyte (Ilya Lykov) turns into the second part in the same ridiculous husband Marya Sergeyevna, whose main tragedy is unrequited love for his wife. Strange in his confusion, some kind of acting appearance, he leaves a strong impression.

Fear in front of mental infantality, the motive early devastated life became the main director in this opus of the young director, fulfilled inventively, but somehow impassively.

In some way, the answer to this note was the second "debut" performance of another scene - delivered by Yegor's religious by Roman Helen Chizhova "time of women". His genre is a naive story; He is really permeated with a sense of nostalgia at the excellent times of communal and human heat. And it is this intonation that becomes the main thing - and with ancientness of old-fashioned. The heroine is sensually and temperamentally plays Alena Babenko, after the "driver for faith", which is hardly not a specialist in retro. And it is not surprising - in her appearance and acting intonation there is some clarity, strength and integrity.

Surprisingly Other: Starting a performance from a strong position - three elderly women are monumental and just sit behind a long table - nothing superfluous, only a neighbor from above (Ilya Romashko, he is one of the authors of the musical design) extracts music from a pan and saucepan - the director falls further In the confused, cumbersome prose, becomes the hostage of "Soviet melodrama" about the "former" life. Three women are grandmothers Evdokia (Svetlana Korkushko / Tamara Degtyarev), Glycryia (Lyudmila Krylova) and Ariadne (Taisiya Miholap), the neighbors who became the "grandmothers" the heroine Alena Babenko and her daughters grown in the post-war Leningrad.

A strong trinity in which Lyudmila Krylova is brilliantly, who played so tremendously and selflessly, as it seems, never played, with each tact of the performance, too, is becoming increasingly in a melodrama. In the performance there is a brilliant role of Sergey Girin (Nikolai), whose erased, the polynyaya texture accurately left the old movie, the colorful community of Zoya Ivanovna Inna Timofeeva and Solomon's powerful in his silence, Zakharovich Rogovwod Suchharko, who played a whole fate without a single word. Not to mention the impressive acting work Alena Babenko, who played a passionate, desperate misfortune of happiness. But the story turns out to be too cumbersome and the confused, as it happens in the first novel, and the melodramatic design makes the play though even tremble, but predictable. As if, together with the invitation to putting in the "contemporary", a young director received an aesthetic vaccination that does not allow him to break through to another theater vocabulary.

Izvestia, April 20, 2011

Elena Gubyadulin

Birds of joy, birds sorrow

In the Moscow "contempora" put the romance of the Berechsky laureate of Elena Chizhova "Time of Women"

The performance was released in the small space "Other Scene" in the framework of the "Contemporary" project to work with young directors. Director - Yegor Reudov, just a year ago he graduated from Rati (Sergey's workshop), showed professional confidence and human maturity.

The action takes place in Leningrad in the middle of the last century. The story of the three elderly women who raised the child's neighbor in a communal service, in today's times, seeing something exceptional. It is about grief and joy, compassion and betrayal, kindness and evil. About such simple and eternal truths that sometimes it seems like a fairy tale. The author of the performance after the author of the novel fabulous motives intentionally exagresses. "The time of women" is balanced between the reality and sleep, and fantastic images intervene in a specific life. But the alarming vorozhba does not prevent sincerity. As in great fairy tales, in the new performance of the "contemporary" the true values \u200b\u200bof devaluation are not subject to.

The factory worker Antonina is a scored creation that exists under the sight of the oblique views of the neighborings and activists of the Moscow. The reason for her troubles is a child born without his father. "Wonderful Child" checks the characters of all who are nearby. Neighbors instantly change contempt for mercy, taking a girl under their custody. The chairman of the sector Zoya Ivanovna is hypocrishes and lies, allegedly showing participation, actually revealing a reason for gossip. Wekger Nikolai from the electroplating shop Lebyesh in the hope of marrying Antonin and take the room, but "curses rods", having learned that her daughter is a disabled.

Villains from the plant - the heroes of nightmarish dreams, ghouls, cannibals and witches. Neighbors are good faces leading in life from birth to death. But they are the usual Russian women who survived the blockade who lost all their relatives and recognizing in documentary frames on the TV of those who are no longer. Theater confuses reality and fairy tale, fascinating and intriguing. A non-communal saucepan from a communal kitchen suddenly becomes a witchcraft. Red tangle is unwinding in a guide thread and bloody streams. The dining table turns into an aggregate for terrible prophecies - the projector installed on it sends ominous signs on the screen ... Antonina's dreams again to meet her beloved so strong that her dreams are not distinguished from reality, and sitting in the kitchen, then the case "tilt" in a fairy tale .

Dual circumstances - a difficult test for actors. Participants of the play withstand him with honor. They exist on stage as if they do not play at all, but came from the municipal Soviet past with his diseases, sorrows and joy. Svetlana Corkshko - courageous and direct Evdokia. Lyudmila Krylova - Poetic, enthusiastic glycheria, who knows how to young people. Taisiya Miholap - quiet, intelligent Ariadne. In a wonderful trio, each has its own topic, his voice, but one goal. The wisers of wise old women are the sufferer of Antonina and her who grew up Suzanne's daughter, on behalf of which the story is being conducted, and Alyona Babenko is playing unrecognizable. Two roles - two times, two stories about personal freedom. Mother - a broken creature, stamped by unbearable and wearing a seating. Daughter - the artist held, who knows the price for himself and its talent ...

There are many poppies in the play with a black middle. Flowers arise on a tablecloth, then on the cut of matter for dresses, then in bouquets. And in the final, offshielding time, fill the whole scene (artist - Maria Mitrofanova). Symbols work on a direct value, nothing but death, not denoting. The poppy field absorbs Antonin, who left the juvenile sirot. Selfless grandmothers, having time to bring the ward to the first year of the institute, are raised over poppies. About the death of expensive people Susanna tells in the last episode. And the granted grandmothers listened to her, as if truthing birds, who know everything about fate.

NG, 12 MA I 2011

Grigory Zaslavsky

Past and present

"Women's time" on another scene of the theater "Contemporary"

"Contemporary" this season can be said, specializes in high-quality melodrama and according to the successful transfer of prose to the scene. On the main scene, Evgeny Arie, I put the play on Zinger's novel. "Enemies. History of love, "Now on the other scene, the young director Yegor Reudov presented his stage composition on the novel by Elena Chizhova" time of women ". Among other things, two performances associate actress Alyona Babenko, which in the "Women's Time" played two main roles at once.

However, this choice of director should be called completely natural: Alena Babenko plays in the play immediately and mother, and daughter. Mother - pigtails, of course, a dress, closing his knees, a daughter, artist, - short haircut, jeans, slightly folded - in fashion 70s. The two worlds are two lifestyles: the first scenes, "sacramental", play below, a daughter who is trying to figure out the memories, talk about themselves, appears on the balcony, looks at the past from the height of the past years. Mother died when a young heroine was very small, they could take her to the shelter, take away ... who? For neighbors, neighbors - three more main characters of the performance, the most women, the time of which was and while the war went, and when the war ran out - the time of these women, it would seem already ready to "write off", they themselves are ready to surrender to scrap, But no, time after the war is still their time. Women's time. Who quietly live quietly, quietly make their work, drag on the cart, grow a girl.

Roman Elena Chizova - a story about the last time on the face of the girl, however, which has already grown, became an artist. The play in the play of Egor Reudova "Flashbakeki" starts the performance, the past here - on equal footing with the present, although in some a little bit - a little bit of irony, a little softer, slightly darker, - in this "a little bit" work Memory, an attempt by the resurrection, the reconstruction of the past, which the child does not necessarily remember himself, something - imagined, retroints. "But in mind such a hidden power, which returns images and multiplies, noise, not clever, memory rain, and memory-snow flies and can't fall," it's easy to imagine that the director kept in the mind of these lines of David Samoilov. The power of memory in our eyes makes the lives of these three old women who raised Susann on their feet in the baptism of sophia. Mother, Antonina, simple-simple, naive before ... perhaps, yes, to nonsense, seduced by Petersburg's styles (Evgeny Matveyev), gives birth to a girl and calls her suzanny. How else?!

Old women Evdokia (Svetlana Korkushko), Glycryia (Lyudmila Krylova) and Ariadne (Taisiya Miholap) - as three parks are on guard no longer mother, but her juvenile sofa. Mother is not saving, she dies, and almost in front of her life leaves her - Alena Babenko This is the expiration of life playing literally, scary, somehow, at the same time, without any press, seeking this history of the melodramatic effect. The actress plays and technically sophisticated, and somehow a very human understandable story, rich in some small and accurate details. Not in vain one of the members of the bucker jury, when Roman Chizova received this award, said: "I'm not a fossil, but, in general, there was some kind of spasm in the throat when reading her book." Here and the performance is not a fusive, but touches places - where you need, to tears. Among the three old worm, the most touching - of course, Glycryia Lyudmila Krylova, fragile, in some words - a day child, but at the same time - not forgetting to give the valuable practical advice of the defendant Antonine, when a colleague Nikolai (Sergey Girin) comes to that. Looking at her game and getting a considerable pleasure from her game, you think: these grandmothers are happy that they finally found about whom to take care as much as the actress Krylova stuck in such a real role. She received the last major role in the "steep route", the premiere of which was played in the 89th. In Antonine, they find a daughter, which is deprived of all three. The gusts of her youth are understandable to them, but this does not prevent them from being guarded by the piety of Antonina, when she leads to Nicholas's house.

Perud - a man is very young, very delicately, with some adult respect comes to the distant era, does not get furified in the trifles - kerosexins and matches, the objects of the styling of the equipment and the Soviet trade union-factory life, but at the same time as history, its household applies without contempt . On the stage - exactly as much as it is necessary in order to have confidence in the past time (artist - Maria Mitrofanova). The bunch of the trade union activist may appear later, but Irina Timofeyev as the factory head of Antonina is so psychologically convincing that in the end you believe in the bundle.

The communal simplicity and at the same time ceremony - the complexity of the Soviet communal life - managed to convey in the performance in which the director retained a few of the multi-depleted novel. Roman - for readers, on stage - its own story. Everyone who goes on the scene is their own. Even at the Wordless Dr. Solomon Zakharovich (Rogvold Suchovero).

New Izvestia, May 17, 2011

Ksenia Larina

Babi House

On the other scene of the "contemporary" are looking for women's happiness

One of the last roles of the wonderful ephrosist artist Antonina Dmitrieva became the monospectant in the story of Pavel Nilino "first married." At the small scene of the theater on a small armor actress, he invited all the audience to the homely tea party, treated them with cakes and candy and told her life. The female share of the Typical Soviet limiter could not leave indifferent Soviet spectators. On the performance we were crying and sang. Similar feelings can be experienced on another scene of the contemporary. After all, Roman Elena Chizova "Time of Women" was also born from family tea drinking.

Babenko says quickly, rolling the vowels, like pebbles on the water, rustic talks, cozy, home, which goes and spreading the smell of roasted onions, and hot steam above the stove. Once it seems that the provincial girl Olya performed by Marina Neelan in the legendary play "Hurry to do good" was talked. Everything comes back.

The story of Elena Chizhova "Time Women" received a "Russian Booker" and has long been asking for a scene or on the screen. The book is written on the first person, although the first faces are here two - the mother of Antonina and the daughter of Her Suzanna-Sophia, which will continue the story of the mother from today. Both Heroin plays Alena Babenko, in a few years of life in the "contemporary" grown in a large actress, the actress diverse, fragain and very honest. Honesty in the acting profession is expressed in absolute dedication, in the maximum immersion in the image, during, in the very flow of the plot. Babenko in his last theatrical works is surprising for its unfounded personally honesty.

Her partners on the spectrum are magnificent actipers, which is called traditions, and not ordinary women. Cast for three old women, neighbors on the communal, who took and growing a daughter of Nevwon Antonina, - Svetlana Korkushko, Lyudmila Krylova and Taisiya Miholap. The old women are not simple, and St. Petersburg, who survived not one war, who survived the blockade, who retain the sounds and smells of the long-dead, discarded in the non-existence of the era. Each has its own fate, his own loss story, his way to loneliness. The actresses were stuck in large roles work slowly, with a deaf. As if striving to extend its presence on stage as much as possible, with the hall, which, of course, remembers these persons and these voices: chest, low - Corkshko and gentle, lyrical - walla. "Contemporary" - a female theater, and women in it are unique. It is about them at Okudzhava - "You hold down, you hold down the glory to my woman!". The director Yegor Reudov came up with a gentle, poetic, despite the rigidity and the tragic events taking place in it, on the number of deaths that happened before the beginning of the narration and during it. Despite the suffocating communal life, on gloomy premonitions, on a tangible smell of old age and death.

Women who dream of happiness create it with their own hands out of everything that will come under hand - from rotten potatoes to a fearful factory playboy Nikolai (Sergey Girin), from the plate of American singer Billy Holiday to the gallant old man Solomon Zakharovich (Rogvold Suchovero). The world, lovingly created by women in a separate St. Petersburg communal, is ideal. It is all luminous with love, care, cleanliness, sincerity. In this world, even the most fantastic dreams acquire reality, and even terrible fairy tales who take turns telling their greasy an old woman's granddaughter, seem to be a festive faith. And a wonderful prince on a white horse or with almy sails will surely appear and will be swollen in the arms and takes into the poppy field. In reality, the cowardly and stupid Kohl and the trade union chalde Zoya Ivanovna (unrecognizable Inna Timofeeva), which compensate for the lack of his own personal life with an active invasion of others.

In the play a lot of grief and a lot of tears. And a lot of burning quiet truth - the one that binds us a cumulating time with those who were before us, and those who will remain after us.

MN, May 12, 2011

Dina Goder.

For sensitive hearts

In the "contempora" show the play "Time of Women"

If you are sensitive and love to cry in the theater, you should go to the latest premiere of the "contemporary" - the play "Women's time", which is shown on the other scene. The draw of the Roman of the Domestic Browlery Laureatka 2009, Elena Chizova was written and put by the young director Egor Torodovyov, one of the graduates of the last year of Sergey woman in Rati. This is the most talented director's group that on the last "Golden Mask" received a special photo of the cycle of performances for children. True, the fudies of children's performances did not put - his debut in the raise was a tough and several sterile German drama about the office relations "under pressure 1-3", set aside and cleverly. Moreover, it is surprising that for the "contemporary" this young director composed a female sentimental play with a "naive story" subtitle, which is quite consistent with the merits of the case.

The story that the novel tells and the performance takes place at the turn of the 50-60s. This is the memoir of the artist about his childhood and mother - the meek and a frightening rustic girl working in St. Petersburg at the plant. About how she was seduced and left a rich clever, and as in the communal, she helped to raise her daughter three lonely old-year-olds. Growing a modern woman, like her simple-minded mother, playing Alena Babenko, who already published in a similar role of a touching hatcher in a recent performance "Enemies. Love story". The roles of three old-stranded old women who have lost all of their loved ones in the Soviet and military times, have long been enjoying anything seriously did not play actresses - strict, Basovita Svetlana Corkushko, small, with a ringing voice grandmother Lyudmila Krylova and calm Taisiya Mikhalp.

History develops dramatic - the girl turns out to be a mute, an unrequited single mother of Antonina, forced to feed four, exhausts at work and breaks between grandmothers, who are shaking over the girl, teach it French, cross and do not want to give to kindergarten, and the leaders of the factory trade union committee, which Bottles to explode in factory boards, the child received proper Soviet education. But the girl does not have time to go to school, the mother dies from cancer, and here the old women come up with a complex intrigue so that the child is not taken to the orphanage, but left with them. To the final, the whole scene and most of the hall sinks in tears that some bust even in relation to the very sensitive novel chizova. And there is no doubt that this performance is among gentle women and impressionable men will be successful.

MK, 27 mA I 2011

Marina Rikina

"Women's time" brings to tears of men

Premiere in "Contemporary": Moscow has not seen such a piercing performance

Someone time to eat fat. Someone can steer on the "Maybach" on ragless roads, and someone will be born on them. One to scatter stones, others ... Well, in the "contemporary" on pure ponds there was a time of women. This is the name of the performance on which they cry, without hiding tears, and to which not fall, although the extra row is already substituted. Observer "MK" read the "time of women" behind the scenes.

In failure backstage darkness, nothing can be seen - banks, sledges, some kind of rags. But the song is perfectly audible that a clean maidy voice is brought under the accordion, but with solid teenage notes.

Somehow early spring
Grazing herd flock.
Rustic cowgirl.
And liked it
Chernobrow Andrey,
Chernobrow Handsome Andryushka ...

And in the song, the knife will also sparkle, it will go to Andryushkin the flesh, blood sheds - in general, love-carrot, poverty is hopeless.

Alyona Babenko (she sang) Kubarem rolled behind the stairs to the stairs. On the go hits the felt boots, the sweater, pulls the bots and, running on the stage, is observing the apron. Just like in the circus: Alle-op - and she is already at the slab: cuts onions, crying from it with flammable tears. Is it good to the first row - it breathes roasted with a carrot. Or maybe saliva flow from parseshed refueling? Here everything is in natural - and onions, and life.

And life ... Such a simple, quiet and so terrible ... All women on the stage, whose time Elena Chizhova, who received the "Booker" premium for the novel "time of women".

What is now ... isn't the hell? God gave birth to so much - do not pitch back. So what - without a husband? Not you are the first, you are not the last one.

This is a tone of the mounted, which Alena Babenko plays, says Zoya Ivanovna Zoya (Inna Timofeeva). She has, as it should be, a gray suit and a bunch on the head. So that it stands better, before such tin cans were hidden.

And remember: our baby, factory. So general. So do not doubt - Nursery, the garden, grow up - camp.

After all, the Soviet power in the face of such a ridiculous lady about the social protection of citizens firmly thought, not that now.

So, the main heroine of Antonina, thinner, turbid. The soul is clean, naive, propaganda spoiled.

What kind of Hungary? - She asks Random Beloved Gregory (Evgeny Matveyev). - So I know. On polythephsias were explained: hostile elements ... there was something invented against us. And what do they live there? ... here to take them all, put it on the wall and shivel ...

No, she is not bloodthirsty. One, with a child, in two shifts at the factory and Rada-Radeshenka and a nine-meter room in a communal box with three staple old women. These are the most old women and play an invaluable role in her simple life.

No, this is not a performance, but a continuous violation of mathematical laws. Parallels do not intersect only in the textbooks, and on stage, from the director of Egor Reudov, the parallels of foreign destinies overexpose as. On the monitor behind the scenes, that the remote control, I see how on one small stage, right at the foot of the audience, the life of different generations was intertwined even at the replica level. Antonina fries onions and, without going from a place, meets on the imaginary stop of the Black Gregory, a boy from a prosperous family, probably, professorship.

Grigory: Everything in the country. In a sense, ancestors.

Antonina: How in the country, winter after all ... and where is the neighbors?

Grigory: This good do not hold. We live like under communism.

Antonina: And who is who over the sofa? Bearded? In the sweater knitted?

And then their dialogue cuts the bass voice of the old woman Evdokia:

I say to her: you soap, soaply an extract.

Antonina is divided into a portrait of a bearded man in a knitted jacket - she does not know that this is Hemingway. And then provoking sexy timbre Frank Sinatra Tomno stretches "I'm Fool to Want You. I'm fool to want you ". Who will stand here?

The scene sails one on the other, like the clouds with a strong wind in the sky. And the time is pressed so tightly that for ten minutes of the stage time Antonina time to give birth, part with the Chernyov, get valuable tips from the Zavomovka and discuss the future of His Suzannik with neighbors.

Antonina: So it was necessary: \u200b\u200bto work itself, from work - shopping, there to defend, here to defend, and at home like servants. Wash on everyone, remove, prepare. Pensions they have tears. You have to report. But diet as a princess. Read, three nannies per one - and looked after, and combed. Walk, books read. Thought who to say in French. En, de, Troi ...

Status with detailed details on the scene, exhaust speed behind the scenes. In any case, Alyona Babenko only has time to turn and dive from a winter coat into a suttsevo dress, from it - in wiped jeans and shirt. The make-up Tanya Shlykov, by the way, the winner of the Golden Mask, keeps a wig ready, and now Babenko from Antonina turns into her adult daughter Susannochochka, in infancy, baptized by a sofeushka. It takes off the stairs with a burning cigarette.

When snow falls, I always remember my grandmothers. My grandmothers did not hurt anything, just left in one year. First glycheria, then Ariadne. And the grandmother Evdokia lived to the fall - I was already studying in Mukhinsky in the first year. This then my work began to be sold.

Reincarnation - instantaneous. The game is fantastic. And it hurts for her Antonina, and sorry her, and it is funny ... how many people were there?

Lyudmila Krylova (she glycheria) pushed behind the scenes: "I didn't recognize you in the dark." And I just have time to ask: "A difficult performance for you? "In response whispers:" Strange. I enter him, you will not believe how to bed. And only around the go. "

She said, took the bank a liter and a quiet reharging chamber went to the stage, leaving me alone with a very domestic props - banks, sieve, old TV, boom for boiling linen ... and also a hefty glare are piled here with flowers.

Glycheria: Yes, yesterday I took a good piece - in the grocery. Breast. With a bone brain.

Old women, like three sisters, sit at the table and just do not pronounce: "If you knew if you knew." No, they are not Chekhov's heroines and know perfectly well, with the pound of Likha. Actresses excellent - Lyudmila Krylova, Taisiya Miholap and Svetlana Korkushko.

And on the balcony to the left above the scene, a flexible such type quietly rustle. This is Ilya Romashko, who voiced by the performance of the performance. He has a children's skap (turns over his head, and a whistling from rubber jumps looks like a winter wind), the lids from the pot creates a bell chime. He is very appropriate in the scene of Captain Suzannoches. The font is the tank for linen, a baptismal shirt in the hands of the grandmother Evdokia - a child. The strongest scene, where in the absence of a girl everyone, I am sure, feels like this girl.

Let me smoke, "Alena Babenko flies behind the scenes in the final of the first act. Her face is in the flour. She had just played the magic and frightening dream, which tragically repeats in the second act and associatively sends to the sleep of Pushkin Tatiana.

Fell into the snow; Bear Promorno
It is enough and carries;
She is insensitive, submissive,
It won't move, it will not get ...

Such a performance that the Spirit do not have time to translate. He is emotional, he breathes as a large creature from the distant time, from the type of which it is impossible to tear off. The most interesting thing is that the director of the religious, who made his first big performance in the "contemporary", just 27 years old. He is from the project "Young directors in the" contemporary ". From where, I think, I will be the knowledge of that distant Soviet life - painful, curve, broken, correct?

And I don't know her, "says Egor. - I was not engaged in historical research. And I didn't do about time. About people. It's rather about my grandmothers, dad, mom, about my son. Tribute to generations, or something. And what happened is a miracle of the theater. And then, the actresses who remember the time they brought so much to the performance.

In fact, young actresses are hardly played. But it's not just the experience of each, but in skill first of all. Three different types: fussy glyculery, quiet Ariadne and rigid Evdokia.

Glycheria: So listen: You never know how it comes, and you vinegar awarded or aspirin. In water solvent. Take the shreds of cotton, thread rewind yes into the water this and perch. Watts something in advance, and the thread is long - the outside is supervised. It will end with you, and you remember: a minute, another wait and pull out. Did you understand?

The hall rushed from the homegrown contraception recipe.

Thanks "Women's Time" - artists returned to the scene, who shone, but recently almost did not go on stage. This can be said almost about everyone - about Lyudmila Krylova, Taisiya Miholap, Svetlana Korkushko and Inna Timofeeva, whose wicker aunt, despite all his odiousness, causes sympathy. Behind them - the truth of time. The same can be said about two male roles: Evgeny Matveyev and especially Sergey Girin. The latter plays the failed her husband Antonina. Yes, and the director himself is an unconditional discovery for theatrical Moscow, a new serious name.

I'm fool to want you.

I'm fool to want you.

This is already languidly stretches Billy Hollide. And the amazing design with Alay Macs will rip the whole scene. As I was told for the scenes, a few months broke the stage for several months. And he achieved his - the field of flowers falls silently, producing a strong impression (excellent work of Maria Mitrofanova). And on him in a blue dress she, Antonina, exactly ballerina. And her daughter will cut onions like a mother. And no guarantees that her bitter fate will not happen again.

Somehow early spring
Grazing herd flock.
Rustic cowgirl.
And liked it
Chernobrow Andrey,
Chernobrova
Krasavets
Andryushka ..

Planet Beauty, № 5-6, 2011

Natalia Kazhamina

Tale of communism

Born 55 years ago in the bowels of the Art Theater, "Contemporannik" on the first decade met its name. I installed a new type of relationship with the viewer, more democratic than was taken in the "Parental House". Changed the acting player in the Russian scene. Suggested to the public other topics for conversation and other degree of truth about life. As they would say now, presented a new theatrical reality. In addition, the "contempants" were people with convictions and civil position, which would also be respected, if only because it is the beliefs of our parents.

Today is another time: loose, inert, demagogic, not at all ideological. Other artists. Other and viewers are not so unanimous in the life priorities and requirements for theater, as before. One rod one: the birth of the "bottom" theater and in 1956, and in 2011 is problematic. Therefore, the preparation of the next theatrical reality of Mr. Volchek tried to take on themselves and, manifesting the act of artistic will, there are ten years old trying to update his theater, inviting young directors to produce.

Attempt No. 1 with an invitation already known by the time N.Chusova and K. Serebrennikov was successful only in part. The performances produced more noise and confusion in the minds than the change of the fate of the theater, and today the memories of them almost did not remain. But the feeling of the need for change and tactics were true. Attempting No. 2 - an invitation to creative dialogue is no longer "children", but "grandchildren" of the "contemporary" - comes out much more interesting and looks more promising.

Let me remind you that in 2009, the youth project "Experiments" began on another scene of the "contemporary". Four director, then still students, Mikhail Paint, Cyril Otoptov, Oleg Plaksine and Ekaterina Polovtsheva, put four performances: "Performance" on the play M. Pokrass, "Kurt Mistet" on the novel by E. Lu, "Pijrante" E. Yerpileva and " An unexpected case "A.N. Ostrovsky. The proposal was more than generous, the conditions are only two: put that you want, even the city of the wolf you are not a decree, and put with any actors, but only the "contemporary"; persuade to play folk and well-known, and this is please. Childhood ended, the student directors were immediately offered the conditions of the game in the "adult" repertoire theater. The risk of a generous proposal was one - no one knew the debutants, and they risked not so much by their name as the honor of his teachers (M. Zakharov, O. Kudryashov, I. Rehehelghaus and S. Genovacha), their professional reputation.

All four performances turned out to be individual in style, formally inventive, the names of the directors were remembered. Three chose a modern play, which also looked like a organic continuation of the repertoire line of the "Contemporary". It turned out that this scene is required not a revolution, but evolution, it is constructive. Professional language united different theatrical generations, and it turned out that the problem of "fathers" and "children" in the theater today is criticized.

"Experiments" borrowed an equally natural continuation. E. Polovzva put the second performance in the "contemporary" - "pretty" S. Founded, K. Vyotoptov recently released "Seryos" in two stories of Chekhov, and at the end of April a performance and one more student S. Genovac - Egor Reudova took place at the end of April. He staged Roman Elena Chizova "Time of Women" (award "Russian bucker" -2009). And this is an event.

E. Meridova - 27 years old, and the action of the play "The time of women" occurs in the 50-60s of the twentieth century.

The author of the novel E. Chizhov twice as older and writes, in general, about his Leningrad childhood. As the time is fixed by the eyes of a child, Roman-mosaic comes out, Roman-dotted. To identify the image of the Soviet "Iron Age" from it, it would seem that only one who knows and feels Leningrad that pore and the people of that era. To immediately donate with the plot, which most of the public is unknown, I will quote the annotation to the novel - an ideal appearance of Fabul: "The fate of the main character is a hard paraphrase on the topic of the Folk Film" Moscow does not believe in tears. " The quiet Limitchitsa Antonin seduces the St. Petersburg "style", she gives birth to a daughter and soon dies, trusting the girl to three old women "from the former", neighbors for a communal apartment - Ariadne, Glycheria and Evdokia. About them, about that life and lead a story grew up girl, artist. " As a result, in the play from the incomplete knowledge of the "Toy Girl" (Heroine E. Chizhova) and the unclear feelings of the "boy" (E. Reudova) there is a powerful image of time - in all its beauty and ugliness.

Away - a black back, through the scene - the suspension bridge against the background of the white screen, on the right, in an empty opening, is the old-fashioned turntable, both on the factory passage, on the left - the table under the lampshade,. Under the very nose at the viewer - Soviet, two comforts, stove. The kettle is boiling on it (Artist M. Mitrofanova). A little later notice to the left on the balcony of a young man, a neighbor from above (I. Romashko), with some kind of musical musical instruments, he will voice this "naive story", as the genre is in the subtitle of the performance, not so much music as the hum of time.

Three "old women" (S. Korkushko, L. Krylova, T. Mikhalp), fill from the slab each of its kettle, are attached to the table. Silently drink tea and look at the hall with the challenge. The slab cottons the same "quiet Antonina" (A. Babenko) in a cheap sensitive dress: cleans and fries onions, all the time rushes somewhere. Then it is recognized: I would like to live in communism, at least one eye look at this fairy tale, where a person works, how much can, and gets everything that he wants ...

The spectrum is long resisting.

Looking for what to find fault. Everything is somehow small: a typical "poor theater" of a new drama, typical types of "Scoop". From this material, for some reason, performances are often obtained, suspiciously similar to the old Soviet - household and necessarily bad. And no name is "time of women". The modern public of what a good one will appear on "Sex in the Big City", and they are about the unwitting and long-lasting spirit. And it is not clear, this Tlen will now expose or remember with moutigation. Both already disgust. And Leningrad is almost not guessed - it sings in separate replicas. I try to complain even to E. Chizova. In the history of so many tragic turns, the fateful coincidence, deaths, misfortunes, flour, suffering, absurdity - absurdity! - What seems to be broken by any measure of truth and justice. Then you realize that this is the story of our country, and we lived in it, and we continue to live ...

"Moscow does not believe in tears" comes to mind right away. Katia Tikhomirov V. Alert and Antonina Bespalova A. Babenko - one field of berries, cute, naive provincial ladies. Only fairy tales about them - with a different end. "I heard about Hungary?" - asks Tonin "Stylaga". "Oh, yes, on the radio told. And why don't they live?! To put everyone to the wall and shoot, "the provincial respondents joyfully and loses his love. But after the film, V. Menzhov, from memory, it is uninvented floating a lot of other and different. With the advent of the Socialist Society, Zoe Ivanovna (Inna Timofeyev) - a daddy under the arm, "hala" on Makushke - suddenly remember L. Ivanova in the "Service Roman". With the release of "styles" Grigory (E. Matveyev) and the second Tonin "Groom", Nicholas (S. Girin), return from non-existence of heroes and V. Aksenov, and Y. Trifonov, and even V. Shukshina. The smell of Luke for some reason will remind the smell of salad from the "adult daughter" A. Vasilyeva. As soon as the "old women" advise, the famous "Widow Steamer" of the city of Yanovskaya, "Echelon" and the "cool route" of Volchek will clearly stand in front of the eyes. So gradually the performance is becoming "related relationships" and "rooted in discourse". Loving Tonya retells us your dream about the lost "Prince", and we learn in it a sparky dream of Tatyana from Evgenia Onegin. Nikolai in love brings tone as a gift top. "And here is a top!" - Signs the awakened consciousness of a replica from the "Three Sisters". And what is not Chekhov sisters these old women "from the former", Glycheria, Evdokia and Ariadne?

And growing more and more in history. From the word "blockade" you can eat, as from the cold. From the word "camp" (albeit pioneer) shudder and laugh (great and mighty Russian). In general, you laugh a lot. Flour so as not to deteriorate, it is necessary to store in a glass jar, putting the nail there. Old sweater, so as not to throw away, you can assign to another color, and it will again be just right. Details of the life of the heroes, told between the business - knitting and tea drinking, telecast and a walk, lunch and washing - turn the types in characters, and the life suddenly retreats. A vinyl record is placed on the burner next to the frying pan, pressed the kitchen knife instead of the needle, and she sings the sinatra's voice. It is impossible not to fall in love with the one who dances with you under Sinatra?! "I'm a fool to want you" ... and a provincial girl, like the Ulanova, which was just shown on TV, takes off on the shoulders of his "Prince" and gets up like on pointes, in thick woolen socks.

The tone of the story - with a variety of historical times, with appeals to the public, with the constant transformations of Antonina to their own adult daughter (in the world Susann, after baptism of Sophia) - from the realistic gradually goes into a fantastic, and sometimes even in the checker. Old women on the night tell a little girl a fairy tale - then about sleeping beauty, then about the Snow Maiden, then about the black crow. So we look a strange dyed "fairy tale" about the Soviet country in the spirit of Andrei Platonov. We look, experiencing a variety of feelings: crushing how the country has turned into dust several generations of its people; Terrible how she fell into those who stayed alive, wondering and no longer understanding how these people kept their independence and optimism in constant adversity.

Yes, most importantly! Sonya girl who grows and save from the orphans of the old woman, who lost their own children and grandchildren in this Soviet "fairy tale", does not speak from birth, only draws. And it is precisely from the reserve of love of these old women and a permanent sense of compassion, which is experiencing a child to five women and three men flaming in this story (to the brilliantly working in these almost wonderful roles E. Matveyev and S. Girin should add R. Suchharko as old Doctor), - precisely from this, apparently, and will be called by her voice and creativity. There is no girl in the play. Rather, the girl is somewhere there, among the audience, the heroes of the performance are treated for them, which, too, is probably symbolic.

After the performance, it is repeatedly pulling to look into the book. Looking, you evaluate how smart E. conquer turns the text Roman into the text theatrical text, as developing, disntses, and in some places and "adds" "REMARKS" E. Chizova, showing his own attitude towards heroes, and to the time he knows not given. No one exposes, does not fail. It looks at all the look of the historian, a contemporary and heir in a straight line, who ignores ignorance with lively fun curiosity to these people and their amazing life. As the Chizhov girl Sonya. It is such a look and gives the volume of heroes and feelings of the public, among which the main thing in the theater is still emphasis. On the times before the revolution, older old women explain this way: then everything was different, and good, and evil. With this formula, it approaches the heroes of the country and E. conjugate. His performance is about everything else, and good, and evil.

The young director Yegor Reudov put on a small scene is interestingly invented, but a rather boring performance on modern prose. The end of the fifties: a young sloon comes to Leningrad from the village in search of happiness and work - and soon gives birth to a child from a guy who saw once in his life and many times later in his dreams. The child is growing three old women, a neighbor for a hostel, - each has its own story and their own fairy tale for the girl. The dream of a sloon in which she promises her life to the dead men in exchange for a voice for her daughter (she would soon go to school, and she still does not say), it seems one more fairy tale. But the time later she really dies. And the girl, when he grown, spoke and became an artist, and everything that happens on stage is her memories.

It is clear how this no outstanding prose could attract director: it proposes the director an interesting task - to combine three reality on stage. And the fudies came up with the move. Long balcony stretches along the back wall. The bottom he will assure under the poor Soviet life, the top is for fairy tales, dreams and, so to speak, artistic creativity. The upper part of the wall serves as the screen - the animated patterns are projected there, which are created below at the dinner table: when the tablecloth is dried out, it turns out to be covered with sand projector. The old women tell fairy tales, grind the sand with their hands, and bizarre pictures appear on the screen. This should be understood that the painting of the artist is pushed by children's impressions.

Problems are two. The director is a big fifteentist (not all count), but inexperienced narrator. Theatrical narrative, it also sinks when he gives old women to reminister about the past, right up to serfdom. But more importantly - he does not withstand the rules of the game, which itself establishes. He plays the theater of the presentation: on the balcony, the percussionist arouses church stars on the covers of the bidons, waves with a rope, which is how to wind, and wakes up a cut paper depicting snow; The actors are very angry under this snow and execute roles, plungely glanced on their characters as it were from the side. In this kind of theater between the actor and the character, a large distance, and the easiest way to the distance is to play young old men, beautiful - freaks, balanced - wrinkling. The idea may be rude, and maybe Petr Fomenko and Sergey Zeezovach, from which Yegor denudes and studied, were spoken by watercolor. In his performance, it's funny to watch Alena Babenko plays a village, and Sergey Girin is a ridiculous groom. But the role of the old woman got actresses, among each other, the character does not slip. And the director is absolutely nothing to offer them as a distance. As a result, poor actresses protrude one of their own qualities: one beeps, another bassit, the third manner. I will not even call their names - this is a list of victims.