Vistava fedra. Our squads have no shortage of needs: “Phaedra” by M. Tsvetaeva in the Roman Viktyuk Theater, dir. Roman Viktyuk. People rise on the top of Marina Tsvetaeva

The miracle girl got me hooked on "Phaedra" Breta . Well, I'm taking too long. As luck would have it, there was a cat-free passage, so I went))) Well, I’m not a big fan of this story, but let’s take a look at the new one again. Tim is even more gorgeous there Bozin, Dzyuba, Nevedov і Ivan Ivanovich (Don't eat it, it's not my nickname: D). In the beginning it is written that this is the premiere, but we (I Google) know that there was already an early edition of this article.

In fact, the performance began almost at the end of the administration, but after standing for 40 weeks, we got through about half of the people, some of the people in front of us spat and began to burst into the entrance without asking, and the administrator in end about 19-15 Movchki got up and went . In response to the deceiving cries of Chergi Kudi, “what’s going on”, a message was given through the back, that’s it, I won’t give any more tickets, and the performance began singing in a sing-song manner. As a result, they took the entrance with a battering ram, having decided to let us into the convergences of the linen (at which place you can already cry, so). But thanks to Katya and her commitment, I myself would have spat long ago and gone to drink kava)))

At the end of the performance you don’t want to bark as much as you want to praise it. It’s just that it is, obviously, traditionally Viktyuk’s plastic and hypnotically soaring, but neither the direction, nor the actors, nor the set design show anything new. This all happened more than once in all of Viktyuk’s previous productions. And the second hare of the man who plays the wives (as in me, then more briefly, in “Maids” you won’t say anything about this drive, and then the director will only have to repeat himself); the plasticity of gymnastics, dancing and aikido; and above all, prolonged self-expression with bottomless pauses after the skin and press the text, which, after all, is not painful for the actors/heroes; and rapt screams, emotional outbursts with tension that deafened and woke up the spectators dozing off. And the scenography axis here seemed unsurprisingly meager for me, having previously staged it so well.

Here, through a third step, I realized who Phaedra was. Singingly, I could have understood this earlier, as if, having collected what was said in my mind into a reasonable proposition, I would not have missed the next text. And then at that moment, when I realized who they called by other names, I got lost again and loaded into the text I had sorted)))

Just understand this text, reading it the way I described it:
Praise to Artemis for the whole game
Lisov.
The fishing is over. The fever has subsided.
Cold. Halt.
Verify
Breasts, b_k, at the blood of the beaten,
Catcher gutted
Zvira.

I really don’t know who is worse than me. Every time the director plays almost the same actors without dynamics or development. Someone who looks, who, drowned in the viscosity of the words that drop importantly, tries to find here the beginning, the end and the place of the proposition. Well, you can’t read the verses like that, and even more so, it’s just a matter of looking and hearing. Singingly, there are fewer actors in Skoda, it’s just that within the given framework they themselves stink, and also fill up the ears with questions. Glyadachevy stops walking and thinking that he’s a fool. Or develop a reasonable look and knowledge about hitherto unseen beauty and aesthetics))). I would like to look at the empty ovation and the hidden hiding places of the voyeurs, perhaps I am at my Duma and at the minority.

Roman Viktyuk starts his anniversary, “Theater Marathon”. Until the end of the show on the stage of the Moscow Youth Theater, they will show 10 productions staged by one of the most unproduced directors in the country. Another surprise for theatergoers is the pre-premiere screening of the long-awaited “Fedry” with the dog Marina Tsvetaeva.

Phaedra is partial to bet, and did not give up her calmly guarded love to her little sister Hipolita. The old Greek tragedy was performed at the Viktyuk Theater without the women. The role of Fedri is played by Dmitro Bozin. He was not angry, nor was he made mad by the woman’s mysterious soul, nor by the complex, flowery text with his famous sound writing and licking place.

“I don’t feel this world, this warehouse is so good, I feel like it’s fine! They gave me those words that define the essence, the very essence, that lives in you in the middle, that’s what I’ll follow. And the gazers, of course, will Skoda “, - every time Fedri’s role is played, Honored Artist of Russia Dmitro Bozin.

Until the flowering drama of Viktyuk turns again and again. Having bet another 30 years on Tagantsi with Alla Demidova. Another hour and another “Phaedra”. However, Viktyuk does not favor his style. Combining the text with the magic of music and the beauty of the human body - our attempt to reach the heavens.

“I’ve been doing this forever. I can’t be bothered horizontally,” says People’s Artist of Russia, art maker of the theater Roman Viktyuk.

The new “Fedria” has the voice of Olenya Obraztsova, dear to the director. This is one of the remaining recordings of the song, especially for installation. At the finale of the dress rehearsal, Viktyuk asks him to repeat it loudly and raises the hall.

“She hasn’t sung like that for a long time! If it seemed like the ligaments were telling, her stench was at a genius height, like she sang in her youth, this miracle I can’t explain to anyone!” - People's Artist of Russia, artistic director of the theater Roman Viktyuk is spluttering.

The Scholita Viktyuk Theater is finishing its season with a bang - the most beautiful performances are being played for several days. The marathon, which starts on Tuesday, is the fifteenth, the anniversary. And as the artists believe, the rest will not take place on the powerful stage.

Restoration of the Rusakov PK, which was transferred to the theater some 20 years ago, is being completed. For many years there were no performances here, just rehearsals - a monument to constructivism, the work of the architect Melnikov, who was at the pitiful camp. Today they are working on interiors, engineering systems, and mastering new theatrical equipment - sound, lighting. This will be the most original scene in Moscow. With majestic windows and a unique design of the hall for voyeurs.

“Here the chairs are positioned in a completely different way, you won’t see them yet, they will stand like a podium, standing in front of the stage uphill. And here it will be possible to transform everything, play on different surfaces,” says the director of the Roman Viktyuk Theater Valery Raikov .

The spring season is about to take place. An official release date has not yet been announced. Prote Roman Viktyuk has already decided that he will play first on the new stage. It’s clear that this summer’s premiere will be Kvita’s “Phaedra”.

Yulia Bogomanshina, Sergiy Davidyak. "TB Center".

“PHAEDRA. Mystery of the Spirit" with the song of Marina Tsvetaeva. Theatrical photography is one of the most technical folding directions. Marina Lvova shares her impressions of shooting the OLYMPUS OM-D E-M1 with the new M.ZUIKO DIGITAL ED 40‑150mm 1:2.8 PRO lens.

“It’s a joy to create when the nervous and passionate people are spitting from the canvases of respected masters...”

Dmytro Bozin, with a speech about the work of a theater photographer

“Mystery of the spirit” was tested not only for the gazer, but also for the photographer. It has so much variation and dynamics (like in static scenes) that it seems practically impossible to convey all the depth in the frame. The play has a lot of mass scenes. In Viktyuk, both artists’ actions and emotions are intense and passionate, so capturing them photographically is vivid, conveying the dynamics and tension of the senses – even more important than the task.

This is the mystique of a theater photographer: to focus on the frame, to convey the atmosphere of the show as reliably as possible, to create the effect of presence for those who cannot see everything with their naked eyes.

I shot on OLYMPUS OM-D E-M1, complete with M.ZUIKO DIGITAL ED 40‑150mm 1:2.8 PRO and M.ZUIKO DIGITAL 1.4x teleconverter MC‑14. The technology made it possible to comfortably photograph not from the front rows, but from a hand-held point in the middle of the room for spectators. Fast autofocus DUAL FAST AF, including the following, showed itself miraculously in touch mode.

Serial shooting in the E-M1, in my opinion, is too sharp and dense, so I gave preference to single, targeted shots. Regardless of the fact that the E-M1, despite the amount of noise at high ISOs, is sacrificed to cameras with a full-format matrix, ISO values ​​up to 2,000 are fully functional, and at maximum light sensitivity values ​​you can take a year’s worth of photos for the minds of RAW. The flip-up screen really helps, especially when looking from the lower and upper angles. So, completely unknown to myself, more and more often, when going on a job, I began to take with me the OLYMPUS OM-D E-M1, leaving my full-format CANON 5D Mark III SLR camera at home. The most important factor in the choice is not your courage, although it is an important factor, but the reliability of the choice, including in the minds of insufficient illumination.

However, like Viktyuk, the more flexible reading of Marina Tsvetaeva’s poetic creativity captivates the gaze of a sensitive, transcendental figure. The voice that accompanies the action, recently passed from the life of the operatic singer Olenya Exemplary, makes us angry and makes us think about the currents of creativity. Divine or demonic stench? Who or what gives the creator the power to create and the special sensitivity to come out? How to resolve the conflict between preferences and moral obligations?

The viewer confirms that the skin is nourished on its own. The viktyuk is blooming in full bloom, with a murmurous deep dive into the knowledge of Tsvetaeva’s mature creativity, and pondering about the fate and sin.

“Phaedra” is not an easy story to understand, and it is necessary to be prepared: to know not only the ancient mythological plot that underlies it, but also the tragedy and the completion of Marina Tsvetaeva’s cycle. The poetic text, which is very complex for a theatrical performance, is one of the reasons for the sparse stage history of Tsvetaeva’s dog.

about the author

Basic direct: photojournalism

With the play “Phaedra” itself, I have completed a review of the entire repertoire of the Roman Viktyuk Theater for today. against the theater. The very next day after the operation, having watched the window as spectators flocked to the theater, I took off the doctor’s bath, quickly took a shower, put on a suit with a crib, and as if nothing had happened, I went to the theater to marvel at the devil’s production. So my skin was sore all evening, right up until I left the doctor’s office. Doctors and nurses then said: “In our time, we have had a lot of experience treating sick patients, even if they were sick, and even after a surgical operation, we were asked to go to the theater, we haven’t seen anything like this before. People talked about me.” anecdote... A month later, on the same In the evening, at the banquet, where Roman Grigorovich himself was present, I told him over some wine about my passion for this theater. The head administrator, Natalya Vasilievna, was present there. And at the same hour, I buried my bosses. From then on, I became promote Viktyuk Theater, as a regular. Now about the production of “Phaedrus” itself. As we put together a hall at the institute and study the subject of the history of the theater. We carefully got used to the skin phrase of this not simple text. - Read the short version of the tragedy, whatever you want b nobility, who are the characters Phaedrus, Theseus and Hipolis. And there is not much to figure out. You need to love the poetry of Marina Tsvetaeva and understand her! You need to know the directing style of Viktyuk himself, his manner of dealing with artists. And the roles of people are determined. and smoothly. Call until you need it. Ale zagalo artists demonstrate at the same time the wonder behind the beauty of plasticity of the body! With her bare torso she looks beautiful and wonderful. I have been working hard for every two years. The music, decoration, scenography, lighting are on point. Everything is enchanting. Masterfully under the buried splashes and voyages "Bravo" exit to the slope. Tsy of his family, ritual I Treba Bachiti, yak viconavtsi, giggling on one, with gestures of knight hands, request a Maystra on stage, and that of his spocation, we have a spinach, the cadets, with the Trioh Storin (structural theater of the MAW Trikutnik form), and the same kudos to the artists. And for a long time now the peeper won’t let the maestro go!

New news, June 16, 2015

Olga Yegoshina

"Usya on the right in the rhythm in which I will trample"

Roman Viktyuk started his anniversary marathon with “Fedra”

In the spring, the renovation of the Roman Viktyuk Theater will be completed, and in the meantime, ahead of the anniversary season, the master is showing his ten productions at the Moscow Theater on the old stage. The pre-premiere screening of “Fedry” by Tsvetaeva opens with a marathon. About thirty years ago, Alla Demidova encouraged Roman Viktyuk to think about staging Tsvetaeva’s drama. And from that hour “Phaedra” became a song, until it turned around at different stages of life.

After “Fedry” of the 80s, Alla Demidova played the leading role in the television film “Predilections according to Fedry in the Few Dreams of Roman Viktyuk.” In fact, the director verified “Last Night from the Russian Dogs” with a human actor’s mindset. The role of Fedri is played by Dmitro Bozin.

At the finale the hall is going crazy, just streams of bacchantes with wet eyes and incredible designer flower compositions in their hands rush to the stage. Dmytro Bozin literally falls under the wagon of bouquets. A colleague somewhat melancholy respects that the theater had so many guests for Maya Plisetskaya’s “Carmen” hours. The peek is easy to understand. The Vikons were clearly selected according to the standard “All are young, beautiful, passionate, all equal, as if to choose.” And perhaps the capital’s theater will not be able to boast of such a number of beauties on stage.

The decorations are practically everyday: a bunch of straight-cut golden stitches hang above the stage, and in the back there is the facade of the constructivist building of the Roman Viktyuk Theater in Sokilniki. The choir becomes a living scenery. There are no scenes here, accompanying the carbonated verse with plastic sketches (plastic director - Volodymyr Anosov). The athletes either pull invisible bows, or dance in a circle, or join together in a dance-battle.

From the choir, the protagonists of the dramas that are being played out are gradually seen and presented (besides the replicas and throughout the monologues of Fedri, Hipolita, Nurse, and the “voices of the crowd”). The young, nervous Hipolit (Igor Nevedrov) chants his oath to Promo: “From the rudeness of the liver / Artemis’s servants / Jaudin will not suffocate” and is alarmed by the perception of the greedy. Mislyvets can so easily become zdobichchu. Before addiction, everything is equal. The golden-haired priest of the unoccupied Artemis could completely turn into Aphrodite’s servant, Phaedra. And Hipolit’s dark-skinned confidant is the Nurse (Ivan Ivanovich).

Versh Tsvetaeva in Roman Viktyuk’s production shows the very element itself is necessary. He plays with one or another Viconian, just as music is a musical instrument. The vertices chant with a clear voice of the skin and voice - “I-p-flight, I-p-flight, it hurts! O-p-a-la-e! U specu la-ni-i-ti! What a terrible hooligan for this name! If Alla Demidova put into the series all the strength of a woman’s weakness, the viscous “i-i-i”. Dmytro Bozin infuses the top with all the power of the titanic passion from which the body emerges (two choristers force themselves to the Kokhan Phaedrus).

In the song, Tsvetaeva’s director inserts “Skarga” and “Message” from the completed cycle, as if to tear apart the mysterious rhythmic little thing of the production. Roman Viktyuk also inserts scraps from the remaining sheets. Theseus (Olexander Dzyuba), who showed up, wearing dingy jeans and a black T-shirt, reads out a sheet about the way steel hooks attract the eye. The discarded scraps of Fedri's death are replaced by a sheet of Marina's Flowered Son Mura. This operation looks rather forced and strained. So, Tsvetaeva hung up, like Phaedra, but for motives, from an undivided company bordering on distant. The same setting of Tsvetaeva until her day, due to Fedri’s predilection, does not correspond to Hipolit.

Until then, the prose has a mysteriously flowing perfection of rhythmic charms, which have been so long and wickedly woven and sung. To reach the final tension of passion, Vikon now increases his voice to decibels that threaten his ear. And a high result of the test is revealed:

“There, where there is a lot of noise, there is a hundred of rumors,
Create a double hump.
Let there be some burdens there if you want -
Light to the poor! -
Ipolitov brush –
Fedrin's brush."

Theatrical, 25 lipa i 2015 rock

Natalia Shainyan

Pure essences of passions

Roman Viktyuk started his anniversary marathon with “Fedra”

Marina Tsvetaeva, apparently, spent two years in her life going to the theater in her creativity - immediately after the revolution, during the period of close friendship with the Vakhtangi, who created six songs in the cycle “Romance”, and in emigration ii, in the mid-1920s, when she conceived a dramatic a trilogy based on ancient myths about Theseus. During her life, Vaughn did not show any of them on the stage: the Vakhtangovites did not need the stink, and Vaughn did not transfer two written “ancient” songs to trust the theater, although they contained literary merit d.

The Russian theater director's theater is struggling to cope with the poetic drama - Gogol, Ostrovsky, Chekhov, the Radyansky and new drama in its shortest form is becoming the well-deserved glory of our stage. And the axis of Pushkin, Lermontov and the entire poetic drama of the Middle Ages was much less fortunate. There was a great surge in the interest of directors and viewers until the end of the 1980s and 90s, when the return to the culture of great layers of the previously suppressed slaughter began and the stage life of some songs written under the throne began. That's why.

The production of “Fedry” has become a legend; it was created in the late 80s by Roman Viktyuk at the Tagantsi Theater. The center, place, and voice of her voice was Alla Demidova, for whom Tsvetaeva became the most important spiritual companion, as well as for the director. At the same time, the stench began to think about the nature of creativity and the share of singing. It was obviously close to them within the framework of the song, they tried to rhyme the share of the author and the heroine, inserting into the text Tsvetaeva’s verses and schodennik’s notes. In this reading, Phaedra, as far as can be judged from numerous black-and-white photographs, rehearsal records, and the authors’ and observers’ guesses, was not so much a woman in the khanna as she was in the women’s incarnations of a genius, haichnim and suvorim. Vikonanna Demidova, watching the receptions, relieved of the sensitive warmth, could remember the words of Alisa Koonen, the great Fedri on the cob of a century: “Tragedy takes away a dry throat.” Eros and thanatos, light and dark cobs, which fight in the heart and knowledge of the heroine, were poured into the brave plastic baby of the young Oleksiy Serebryakov and Dmitro Pevtsov, between whom they mentally divided the text of Ipolita and Korm Ilitsya.

Almost forty years later, Viktyuk returned to “Fedry” again, this time infusing his forces, including the human, and young part of his corpse. A world without women, without elderly people, is beautiful and sterile, like a gymnasium. White backs, bare torsos, haircuts, flips, blows, mittens in sculptural poses. Archers, athletes, dancers. This is a stylish rigor of a plastic solution, from one side, even passes to the folding top of the dog. However, on the other hand, this technique does not know the development, so after about an hour it becomes one-man. The backdrop of the stage is a graphic image of Melnikov’s masterpiece, the future stationary placement of the tetra, which, obviously, visually infuses evil rhythm in the flowery stanzas. From these steles hangs a square of golden strings - the youngest ones hang on them, the heroes hang on them, pass over them, and their heroes get lost.

Strings stretch across the exchange or strings that create heaven and earth. This is a single sparkling flame in a monochrome scenic design, complemented by the golden selections of the protagonist. He is played by the prime minister of the corpse, Dmitro Bozin, and, although not the first female image in his baggage, here the woman herself is neatly removed from the small role. The effect of being taken away from the heroine has been created. The attempt is not to play a woman, not to live a love story on stage, but to present the pure essence of passions, to show their influence in the media. The grandeur and solemnity of his voice, the precision of the skin gesture, the complex musical arrangement of the verse, the anger of the melody and meaning in his voice will be conveyed along the way, as if the actor is playing as a deity, about ruling over human shares, the element, the present day, be accepted in any way, woman, without ever becoming crowded.

What does the dog Tsvetaeva have in store? This is the story of a family curse, an oath, for which retribution expands like a spoon, drawing in the innocent. Theseus, who in his youth made his betrothed Ariadne, the lover of Aphrodite, cursed by the goddess. From now on, we will catch him everywhere, taking him as far as possible. The people, who once destroyed the habitation, no longer have control over their lot, become a toy of fate - this archaic idea was again actualized by Tsvetaeva in the era of the greatest catastrophes of the twentieth century. It is noticeable that Tsvetaeva’s Phaedra is innocent, her “evil pose” is not only jealousy and subdued caution, but a powerful passion that calls out her fear and oppression. Purity is the axis of the core of its particularity. Your accents have been replaced. Phaedra, as she plays Bozin, is not “a crazy young woman, deeply wise.” This is a great vessel, in which the spirit of partiality is infused, which turns it into a mixture and kills it. It does not have the same characteristics or powerful history, the image of purifications is something special - in front of us people are burning, whose position has become their fault and the will of the gods. In addition, the director’s svaville does not allow the insertion of the image of the author’s assignments into the text by inserting additions to the diptychs about Fedir, including Tsvetaeva. He is given rebellion, passion, unpretentious sprague, spiciness and unquestionable determination - everything that is similar to the image of Fedri in the song, which is weaved from innocence, hatefulness, pain and courage.

Ipolit - Igor Nevedrov, Nurse - Ivan Ivanovich are also not so lively characters as they are separate preferences. The role of Hypolyt Tsikavish: the white and tending hero reveals a powerful tragedy, and there is no release until death. This does not reflect purity, and does not protect women from any other predilections. This is the tragic impossibility of loving forever, but it is impossible not to continue to live, but to live. Hipolit is not a strong hero, a warrior-thinker, who inadvertently overcomes a fatal escape from situations, but from the beginning he is tossing about, the most soulful and weak, who watches for death and prepares for it.

The anniversary is the most unlucky solution to the image you have on display. The main character of Tsvetaeva is the long-standing, withered, dark, insatiable and deadly Aphrodite. Here she is not much robbed textually, her monologues are completely damaged, and she is deprived as an image. Part of this replica is given by Fedri: Bozin, changing voice and plasticity, throwing a golden veil on her head, gives Rozmov Fedri and the Nurse as an internal dialogue of passions that tear the heroine apart. This really changes the author's semantic accents, perhaps, which is potentially embedded in the song of the singer. With such a decision, Ale Ivanovich is deprived of being present, waving a black spidnitsa and soaking up the colorful rows.

Death is a central theme of Vistavi. The brain forest that comes to life on the stage only in words would seem like new life, youthful strength, the excitement of watering, as if given the expanse of death - the game and the catcher of any kind can change places. Behind the skin tabernacle is the threat of death - like a boar like God. Hipolis and Phaedra meet near the forest, and Aphrodite confronts them at the top of the mountain. From the forest, we cannot and do not want to enter the human world. Hypolit, living in the “league”, the prototype of the grave, and the arrival of the new Fedri - the announcement that the grave will become sleeping for them. A tree, and especially myrtle, the tree of the goddess Kohannya, is a symbol of life, and of death: “It’s not bad to hang on a good tree!” Just as the skin of a green leaf conceals a threat, so the skin of heroes conceals the death of another. There is no rant. Mastery of fate is an old idea, prophetically actualized by the song between the world wars, but it was tragically realized in the remaining centuries. A shaman's bubo with golden streaks, like the god Carna Valley, touches the skin of the heroes with its crown.

At the finale, when Phaedra and Hipolit die, a man wearing jeans and a black shirt with “Theseus” written on the back comes to the forefront. In a solemn voice, he delivers a monologue about the place of the gods, presenting people with the same fate as any of those who are sitting in the hall. This could have been a strong finale, as if the director, having been inspired to re-visit Fedrya Tsvetaeva herself, would reveal the peek-a-boo stories from her life, suicide notes and her own confession about її great. It is obvious that great and important work has been done on the show, which contains gusto, style, laconicism, high pathos and energy. And yet, a scenic solution to the text of Tsvetaeva’s song, without cuts and inserts, this whole string of hundreds of stanzas, as before, is deprived of the right of the future.

NG, 28th birthday 2015

Grigory Zaslavsky

People rise on the top of Marina Tsvetaeva

"Phaedra" at the Roman Viktyuk Theater

Marina Tsvetaeva - of these great poets, who at their most lyrical verses often conduct a dialogue with an invisible or obvious surrogate, and then at their vertices it is obvious again, almost at all times This is the voice of a listener or a spivozmovnik. However, if you write a story, the text will definitely have everything ready for reading on stage. It’s not unusual for performances based on “Krisolov” to appear so often, for example, and today in Moscow you can see several stage versions of “The Tale of Sonechka.”

A rare actor or actress is able to embody pathos, reading Tsvetaeva’s verses, in which there are many signs of the call, since these divisional signs themselves are daily. Before the speech - the axis of Tetyana Vasilievna Doronina, who could be “suspected” of such a dense reading, she herself would be able to find the required intimate tone, which would be more suitable for Tsvetaeva.

Of the many written works by Tsvetaeva, those who are familiar with the theater themselves are “Phaedra” and “Prigoda”. “Prigoda” is alive in the memory of the observers, who came to admire the now legendary exhibition of Ivan Popovsky with the students of Pyotr Fomenok, the exhibition which found the ideal space in the corridors of GITIS. And “Phaedra” became famous due to the production of Roman Viktyuk, as it was staged for many reasons at the famous Alla Demidov Theater “A”, theaters without premises, theater-ideas. It was for this purpose that Kvita’s “Phaedra” was written specially, as it seemed to squeeze and disrespect the thought and the mind.

There was also a legendary performance, where I entrusted Oleksiy Serebryakov with Demidova in the role of the Ipolit of the Viyshov, who immediately gained respect for himself. This axis was played out as a role-player.

It's been 1988, and one can already hear the following words about that show: “Phaedra” is one of the greatest shows of the 1980s and, perhaps, the most serious and powerful show of Roman Viktyuk...” Who else would have thought of trying to leave? I call that water , compare with the legend, high and happy preparation? To whom, to whom? – Viktyuk, who fearlessly molds one after another, the third, fourth version of “The Maid”, not being afraid that the new one will be called a faded copy of the first one, and, requiring him to give it more diligently, the new “Maidens” are soon released to Vikt Yuku.

Until his next anniversary - though not his birthday, which the new 2016 year is still approaching, and before the anniversary of the Viktyuk Theater releasing the new “Phaedra”. On review, “The Servant” is even richer, as it was, Viktyuk’s new “Phaedra” is completely different. Why don’t the golden strings hang like a square in the sun, guess about the tower “Phaedra”. If these lines go down, it is easy for the golden fox to get lost and ruined. In this “Phaedra” the director gave free rein to the women - Phaedria from the viconn, however, is one of our most intelligent and most powerful actors - Allya Demidova, the new performance has only human voices. I body.

You play very rarely. After the low chest action of the attack - even more severe. Having already been created, restored and renovated for Viktyuk, the famous House of Culture on Stromintsy, one of Melnik’s masterpieces, has not yet been mastered by the theater, has not been officially opened, and Viktyuk continues to play on other people’s hectares strolnyh" Maidans. Chergova’s “Phaedra” was played on stage at TYUG.

Sparingly - in carved shades of gray - painted on the backdrop of the awakening "yogo" theater, roboticist PK Kostyantin Melnikov - painted on the backdrop, a little bit of guessing, to the old Vistav Viktyuk for Radzinsky's song "The Old Actress for the Role of Dostoevsky's Friends": there is Tetyana Dosto Evsky's impregnable façade of the Moscow Art Theater Kamergersky, and never after the division of the Art Theater, this artistic image is entirely dramatic, evokes a tragic sense. “Phaedra” Colorful, vzagali – stories about Phaedra after learning, other people’s tragedies don’t matter, and yet Viktyuk, who is not afraid of superstition, gets involved, without pedaling other external situations during the premiere. The backdrop rises, backed by an ar'er-curtain, behind it are low strings of naked actors up to the waist. When the stench turns there and rises again in one line, the curtain and fall, signaling the denouement, the finale. Between them are two years of intense, expressive Kvitaevsky verse, in which, as has already been said, there is no place for a feminine, weak voice. Here, before the speech, you will understand that the Greek culture, to which the myth of Fyodor appeals, even in Tsvetaeva’s retelling close to us, is a culture of men, like the superchka, the dialogue – the man on the right. Theseus (Olexander Dzyuba) wears a black T-shirt with “Theseus” written on it, having finished his words, turns to the drums and continues his thought with the drumbeat. Fedri, as he is in the poster, is not in the program, and the Spirit of the night, who captures the mask of Fedri, played by Dmitro Bozin.

Viktyuk, who pays no attention to plastic thoroughness and in whose sense, is essentially a descendant of Tayr’s theatrical ideas, creating a performance like the lances of effective, one of one changeable freeze-frames.

A show about life and death, about death, which brings with it death - this performance by both Tsvetaeva and Viktyuk is about a cry to the gods. Viktyuk reinforces this thought with the inclusion of quotes from Tsvetaeva’s schodennik, from the rest: Tsvetaeva with a smile and she herself threw out a cry to God when she crawled into a blind spot. “Phaedra” by Viktyuk is about the tragedy of fighting against God, about the natural – this essence – the powerlessness of people. In life, like life, there is silence, Viktyuk, in this new show, reaches all the details of the control of the human body, both the movement and the silence on stage.