"What, did not expect? "
"Player" is Svetlana Kryuchkova's benefit performance to the 40 anniversary of her work in Bolshoi Drama Theater troupe. The Moscow director Roman Markholia and Dostoyevsky's novel "Player", "passion history", "the novel about idea passion" was chosen. Scene of action - the fictional resort Ruletenburg (at first Dostoyevsky and called the composition).
For a role of the player Alexey Ivanovich, Babulenki's partner on game in a roulette, invited Vladimir Koshevoy known on many works at cinema and on TV: "Crime and punishment" (Rodion Raskolnikov, Dmitry Svetozarov's screen version), "Grigory R." (Felix Yusupov, Andrey Malyukov's series). Recently passed series "Ambulance", the Ukrainian adaptation of the well-known American movie where Kosheva acted as the doctor.
Polina, Alexey Ivanovich's beloved, are played by Polina Tolstun ("An uncle's dream", "The darkness power", "Erendira"). In performance young actors of troupe, actors of the Big Drama Theatre trainee group and the invited actors are occupied.
When on a scene and says: "Well, here and I! Instead of the telegram! . Zhivekhonka. What, did not expect?" - the hall literally gasps and the ovation is distributed. (Her heroine - "that old hag who does not die in any way and from which all wait that she will die"). But we will not reveal any and all secrets and to tell, what suits, headdresses, wigs and points, and also a vehicle the director Roman Markholia and the gifted artist on suits Fagilya Selskaya …
composed for the actress- Will of a case I for long time appeared in Germany that very much promoted preparation for a role, - Svetlana Kryuchkova told. - There other life and other people. It is very interesting. It is language which was necessary for performance. I in Germany learned the song Rammstein which I execute in "Player". I understand each word said in it. I am on a scene as a certain fate, as a certain chorus in the Greek tragedy. I do not play any concrete one role, I have in performance some characters. We have an open form of game. I in the face of the viewer can remove a wig and put on, for example, the cylinder. I can be a grandmother, I can the DJ or the interviewer, that demands life on a scene. My Babulenka - the Russian, and, therefore, it opened, it such what is, in it is not present duplicity, there is no calculation. In it there is a passion, thirst of life. She says that the Director Roman Markholia thinks …
told the correspondent of "RG" about how performance was born.
"Dostoyevsky did not disdain an action …"
It is your first statement in Big Drama Theatre. You came with the team? What feelings feel?
Roman Markholia: Arrival to new, foreign theater - the painful moment: you do not know, do not feel and you here know nothing, the moment of connection solves a lot of things. When nearby people with whom you already worked, it as if a safety cushion. Process of formation of team took from us not one month. We chose actors long and carefully. I am glad that chose those who became the real team. With me there arrived from Moscow artists with whom I work long ago is Vladimir Kovalchuk and Fagilya Selskaya. We together compose performance initially. At my theater visual a lot of things mean. As well as musical. In Petersburg I met Olga Tikhomirova, she was responsible for difficult vocal layer of performance. The actor of Big Drama Theatre Semyon Mendelssohn, the thin, clever and gifted person became the musical director of statement.
you for the first time worked as p with Svetlana Kryuchkova?
Roman Markholia: With Svetlana Nikolaevna at us the old friendly and creative relations: we put in Moscow in 2003 the performance "Quartet" according to Ronald Harwood's play where it played, Barbara Brylska, Igor Dmitriyev, Kakha Kavsadze. And since then tried to grope any new material for work. Now in Big Drama Theatre the new art director - Andrey Moguchy, he is not afraid of changes, experiments, risk. Kryuchkova offered me as the director, and I offered "Player". In young Dostoyevsky's this novel there are all those main subjects which it will develop in the mature works. It is the peculiar digest of the great writer written greedily, eskizno. But the degree and seriousness of questions do not suffer from it. Presently at theater, in my opinion, new big style is formed. Something exchanged in air. To the viewer becomes a little only razvlekatelnost at theater. Therefore the big literature asking vital issues, becomes so demanded.
tois Told, you carried out a casting for all roles. Actors from other theaters resulted. For example, Svetlana Obidina from the Small Drama Theatre (SDT).
Roman Markholia: In Big Drama Theatre it is a lot of good actors, but someone did not approach for a role, someone was occupied in other works. I wrote a performance and already mentally a lot of things put. The casting is an acquaintance to actors. I feel them quickly, but it is important to me to communicate to the person personally. I very much become attached, adapt to the actor and I use his nature. It is important to find those tools which will harmoniously begin to sound then in an orchestra. It is important that the general composition worked for idea. A wish arose that Des Grieux did not speak words, only moved. That it was, as from other planet. Saw with the artist at any performance in Moscow in a hall of the ballet person. It was distinguished from the audience with everything. Was overseas such bird. The word without having said - soared in air. Therefore there were Maxim Zubarev and Hermann Schneider, actors of ballet troupe of the Maryinsky Theater, as Des Grieux. Polina had to fall in love with this "form". I wanted that there was a little general (Mendelssohn) and high mademoiselle Blansh (Obidina) and that she was the clown capable of grotesque. To me it was important that types developed in the uniform picture. When saw nervous and thin Polina Tolstun on Big Drama Theatre scene, sighed - Polina precisely is.
Many actors reconsidered for a role of the player. Good, but... Here fragile, such Eraste Garin, the young Meyerhold actor was necessary. It is history of the beginning of the 19th eyelid. Therefore approved Volodya Koshevy, the known film actor. The interesting actor on anybody not similar, he has person, not the banal: he is not the social hero both not brutal, and not a formal modernist style. Rare role - the hero neurasthenic. For it it is the first lot of work on a scene. Volodya is phenomenally hardworking, reasonable, infectious, is able to choose the main thing. It seems to me if it puts on theater, it is waited by the serious future, he is the real hero.
Not all audience accepted roaring music of Rammstein. And dances under Bob Sinclair, Rafaela Carra's composition. Remembered Tovstonogov's time, classical statements, declared that your performance - show for youth …
Roman Markholia: It is young Dostoyevsky's novel, there young passion. There is a flight, a whirlwind of feelings. It seemed to me that rhythms and speed have to be actual. On the one hand, passion, ecstasy game, with another - an accident presentiment. Feeling of boundary time, which at us now in life when danger soars in air. We live in very dangerous, important and pressed time. It responsible for everyone and not the empty - time of changes.
I Think, "Player" - a right choice for theater. Such Broadway format turned out: there is a star, the hero, team of young actors and modern means of expression. In my opinion, to the viewer is and of what to think, and than to have a good time. Generally, it corresponds to Dostoyevsky's nature: it opened all most serious questions with a key of an easy genre - the detective, sometimes the comic book, or the newspaper chronicle. Dostoyevsky did not disdain an action and very accurately understood how to keep attention of public.
the Theatre responds to the author. Though we did not change Dostoyevsky's text and precisely followed a letter, but structurally behaved is quite free. Generously sated performance by music, plasticity, light - afforded that is called. I feel vigilance of a hall when rules of the game are not absolutely clear to the viewer in the first act. But as a result, it seems to me, we take a hall in hand. And as the main players Svetlana Nikolaevna and Volodya here act.
U me big respect to that was in Big Drama Theatre earlier. Such actresses as Kryuchkova is a fundamental culture of theater which Tovstonogov had, and it was very courageous and extravagant on that time. Georgy Aleksandrovich did courses not banal, not conservative, for that time very sharp, nervous. It exactly was interesting to these. In this sense, I think that we after all correspond to spirit of Big Drama Theatre. Yes, time another, but it is necessary to respond to it adequately, it is impossible to say lies and copy the past. We had no desire to strike with originality, there was a desire to express the feelings to a classical material. It is tremendous that Svetlana Kryuchkova is so free, ruthless to herself, does not hold the settled image. She is the big actress. With ease "jumps" from 5-year age in the 80-year-old. In work it is charismatic, open and musical! Unique connection.
during action at you Ranevskaya, Tabakov, Yanshin, Ktorov's voices from the radio performance "Player" of 1968 suddenly sound. Why you decided to quote this statement?
Roman Markholia: "Player" - work known, demanded, is many scenic backgrounds, we not on an empty field created the performance. Nearby, in Alexandrinsky Theatre, there is "ZERO Liturgy" Fokina (according to the novel "Player"). At us Kryuchkova plays, and in the 60th years Ranevskaya sounded. It is our general experience, but we live today and we play the game. You sing, in any sense considering former sounds and voices though it is not obligatory that you sing in unison. It is possible also a counterpoint. This memory of the past is essential to me.
"RG" Reference
Roman Markholia was born p in Leningrad in 1961. Graduated directions in GITIS in 1983 (the head - Anatoly Efros). Put performances in Moscow, Vilnius, Krasnoyarsk, Lviv, Kiev. Directed the Sevastopol Theatre of a name of Lunacharsky, the Yaroslavl Theatre for Young Audience. In Petersburg cooperated with Theatre of a name of Komissarzhevskaya, Theatre on Foundry, Baltic House theater festival. Art director of projects: military and musical festival "Spasskaya Tower", theatrical festival "Hersonessky Games", Sevastopol festival of arts "War and peace".