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HomeLatest News“Little tragedies” at the Maly Theater: in Salieri's hands even the tuning...

“Little tragedies” at the Maly Theater: in Salieri’s hands even the tuning fork is a razor – Rossiyskaya Gazeta

Date: July 23, 2024 Time: 01:34:38

These dramatic experiences are united into a whole by a common theme and motives: first of all, the theme of death, without which there is no tragedy (it is worth remembering here that the reason for Pushkin’s confinement in Boldin was the quarantine of cholera). . The directors of the play (director Alexey Dubrovsky, artist Maria Utrobina) tried to reveal these leitmotifs through theatrical means.

What is common here is the place of action in a broad sense: these are all Western European stories, historical or legendary. On this basis, Pushkin’s sketches such as “Scenes from Faust” and “Scenes from the Age of Knights” are sometimes added to the cycle. But in its generally accepted form, “Little Tragedies” are four short works, almost sketches: “The Miserly Knight.” ”, “Mozart” and Salieri”, “The Stone Guest” and “Feast in Time of Plague”.

The last work was not included in the performance. But this is precisely what the group of masks refers to, participants in the ritual from end to end: either angels of death, or carrion crows, or simply a funeral team. Their common attribute is the grotesque bird beaks, reminiscent of the Plague Doctor’s mask from Commedia dell’Arte. Doctors used these respiratory masks during plague epidemics. Their trunks were filled with aromatic herbs, which helped them withstand the stench of the plague and protected them from pestilence. In the play, the death of each of the three characters is represented in an emblematic way: they simply put on a mask with a beak.

The backdrop and curtains depict dark gray walls with bricks. But this Gothic space is filled with a different filling in each action, giving the whole a nice variety.

In “The Stingy Knight” it is about chests and boxes: a reference to the box space of Koshchei the Immortal. Even the duke (Mikhail Martyanov) delivers his verdict: “A terrible age, terrible hearts” from what appears to be a canopied theater box (and appears on stage, emerging from the depths like a jack-in-the-box).

The fabulous Koschey is also the master of life and death (“From now on I can rule the world”). And his own death is hidden behind many shells: there is a hare in a coffin, a duck in a hare, an egg in a duck… Vasily Bochkarev in the role of the stingy baron even outwardly resembles Koshchei in the classical portrait by Ivan Bilibin and Sergei Malyutin.

At the same time, the actor primarily emphasizes the poetic character of his hero. The baron speaks of his atrocities with a bright and elegiac smile, and from each doubloon obtained he extracts a whole fable or parable. And the poets really consider the baron their own. Here is Sergei Gandlevsky’s epitaph, performed with truly caustic Pushkin joy:

“Die like all boys, and to the admiration of your relatives, tell about the whereabouts of the gold in agony.”

As for Albert, the baron’s spendthrift son, Alexey Fadeev could have shown more boldness in this role. In the confrontation between father and son, the father’s rhetorical power must be balanced with something. The most natural means here are boldness, cynicism and dynamics.

In “Mozart and Salieri,” the meager stage space is filled with Rococo foam: lush roses, lace, curls of wigs, frosty patterns on the mirror. This part of the performance is a benefit performance by Mikhail Filippov in the role of Salieri. The sculptural majesty of the poses, the heavy solemnity of the recitation – somehow you even forget that before us is an envious person and a poisoner. A man defends his lifelong principles and whether he should address abstract dilemmas, whether genius and villainy are compatible. If in your old age you start thinking about those things, it means that your life has been lived in vain…

Dmitry Kornukh in the role of Mozart is also good: moderately playful, moderately mocking, moderately naive. But it lacks a little Pushkin’s lightness on thin legs. On the other hand, we highlight the subtle play with objects: in Salieri’s hands, even a tuning fork looks like a razor.

The third act is dominated by scarlet curtains, cassocks and cloaks, cloaks and swords. Visually, it is an almost literal incarnation of the “cloak and dagger comedy,” whose master was Tirso de Molina, Don Juan’s father.

Everything is good and appropriate here. The fat and loud Leporello (Viktor Nizovoy). The flirtatious goat Laura (Alena Kolesnikova). The shy but docile Donna Anna (Polina Dolinskaya). Monumental oaf Don Carlos (Alexander Volkov).

The only one missing from this ensemble is Don Guan, played by Igor Petrenko. He is more of a Chekhovian hero, like Laevsky (and he was also a duelist and seducer). Suppose that the dull and abrupt declamation can still be attributed to the intensity of the hero’s feelings. But nothing can replace the lack of drive and temperament… But it’s not difficult to prove yourself to such a hero. As Gandlevsky himself did:

“You fell silent in your favorite place, in the place where the vigilantes shout in Madrid. I myself am from the vigilante generation.”

Pushkin’s plots are united by the music of George Handel. In the first act, he is paradoxically reminiscent of Carl Orff. In the second, it is clear that he anticipates Mozart. The third act begins with the victorious “Water Music,” but ends with the same hooting of the Orff owl.

Overall, “Little Tragedies” turned out to be quite a Grand-style performance. And a worthy tribute to Pushkin’s anniversary.

* This website provides news content gathered from various internet sources. It is crucial to understand that we are not responsible for the accuracy, completeness, or reliability of the information presented Read More

Hansen Taylor
Hansen Taylor
Hansen Taylor is a full-time editor for ePrimefeed covering sports and movie news.
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