At the close of the outgoing year, the Art Theater broke out with the brightest and most memorable premiere of the current season. Kirill Serebrennikov released Ostrovsky's "Forest" on the big stage of the Moscow Art Theater. Theatrical poster - performance reviews It's worth seeing

17. Moscow Art Theater Chekhov. Forest (A. Ostrovsky). Dir. Kirill Serebrennikov.

Doshirak from the chef.

Branded emerald programs, which are sold at the Chekhov Moscow Art Theater, satisfy information hunger well - the repertoire, the history of the production, its participants, biographies of actors and creators are reported here, there is even a dictionary and many photographs. How will Kirill Serebrennikov, one of the most famous modern theater directors (including scandalously), satisfy the spiritual hunger of the audience?

The action is moved from a 19th-century estate in the 70s of the last century, to a Soviet retro setting, where part of the interior can be seen Rigonda's radiogram, a crystal chandelier, and on the children's yard from the past a wooden bench, swings and steel horizontal bars and young people listen to jazz . The backdrops, replacing each other, depict a forest, now autumn, bright red, then winter, blue and white.

The characters are also “modernized” and updated to the point of impossibility, to the point of scandal: Gurmyzhskaya has turned from an imposing, sedate landowner into a pretentious, domineering pensioner, cheekily talking to everyone in a nasal, as if drunken voice. Always dissatisfied with everyone, impudent, she has one passion - to marry young Alexis; neighbors-landlords have become old purse-friends of Milonova and Bodaeva, who love to gossip together, lounging in armchairs; the youth, without exception, has become stupid, imbued with cynicism and exceptional pragmatism: Bulanov is now an opportunistic gigolo and dude, jumping around the stage like a Playboy bunny; Aksyusha and Peter - two daring, frivolous and stupid teenagers, overwhelmed by the action of hormones, Peter became an impulsive idiot with slicked back hair. Julitta has rejuvenated and with her foolishness, obsession and activity gives odds to everyone else, bringing dynamics to the action, furiously serving her mistress.

The bright duet of Neschastlivtsev and Schastlivtsev, performed by Dmitry Nazarov and Avangard Leontiev, deserves a special mention. There is a feeling that the actors enjoy their roles, they cause laughter. This half-mad couple of two vagabonds who love to betray, a tragedian and a comedian, ragamuffins and rogues, is remembered almost more than everything else in the play. Neschastlivtsev, a comical balabol of gigantic proportions, however, not at all evil and completely disinterested, is not averse to getting involved in any adventure that has turned up. He loves the impromptu, often talking nonsense using his acting literary baggage and theatrical straining. He seems to be completely confused where is reality and where is the game. An absurd and beautiful-hearted idiot of the Happy with a plastic bag on his head and metal shopping bags, in which he carries his simple belongings, acts as his faithful squire.

The merchant of the Eight Brothers predictably evolved into a modern businessman. At the time of the next deception when buying a forest, he easily returns to his roots - turning into yesterday's "brother" from the 90s in a leather jacket, black glasses and thieves' habits. The modern freak show of characters is completed by two amazingly fat female servants, moving around the stage at a wild speed, furiously swaying their fat sides, introducing an atmosphere of light surrealism.

The story of Gurmyzhskaya and Bulanov is interrupted with the appearance of another main couple - Neschastlivtsev and Schastlivtsev. The indefatigable Neschastlivtsev invades the world of Gurmyzhskaya and takes the initiative. All the brightest scenes of the performance are with the participation of Dmitry Nazarov: the meeting of Neschastlivtsev and Schastlivtsev in a cheap pub near the station with men talking “for life” and a “serious” conversation with Vosmibratov because of the underpaid thousand rubles. The unlucky becomes the chief actor.

The director does not let the audience get bored for a minute. One of the author's tricks is when something happens in the "background". Here, Peter looms near the backdrop, tucking his shirt into his pants, drinking vodka or bawling songs in family shorts at a time when small talk is taking place on the proscenium. Live music also greatly refreshes the perception - a quintet plays in different combinations in the performance: piano, double bass, wind instruments, guitar and accordion. A numerous children's choir with a conductor appears several times.

Children sing about Belovezhskaya Pushcha - the remains of a primeval relict forest, and if Ostrovsky has "owls and owls" in a dense forest, then Serebrennikov's forest has become much thicker, more ancient, and the inhabitants have turned into overgrown bison and mammoths. I must say, the director mocks his experimental characters to his heart's content, even sneers. They are grotesque, turned inside out. Gurmyzhskaya gesticulates frantically and awkwardly, wringing her hands, Julitta performs the duties of a servant with abnormal zeal and grimaces, and Neschastlivtsev drools from his mouth during a pretentious monologue. This performance is not about money, love and power, but about those who are tired of life modern people who have long gone astray and whose morality has fallen asleep. They regressed, dulled, deteriorated even more. And if earlier they tried to cover up the unseemly with good manners, now there is not a trace left of the manners. People have become vulgar, cynical, vulgar, more unpleasant.

The performance and the story about themselves are received remarkably by the audience - a lot of laughter, sometimes hysterical, is heard. Here, a strange gray-haired and tall maiden, at first quietly choking and gurgling with laughter, finally ceases to control herself and laughs more and more loudly, starting to clap inappropriately and shouting “bravo!” - unspent energy is torn out. But this is still not a classic, but entertainment, there is little left of Ostrovsky here. A sterlet's ear with burbot liver and milk in a porcelain plate turned into Doshirak from a plastic box.

Here is the absolute favorite of the season - what's the season, in the last few years there has not been a performance that has made so much noise. Light but essential, homerically funny and disturbing at the same time, daring and at the same time terribly touching, this performance lasts four hours, but is watched in one breath. In connection with him, they talk about the European quality of directing domestic production, about the return to the big voyage of a major actress - Natalia Tenyakova, who played leading role . All right, but I'm talking about something else. For the sake of order, let me recall the content of the play. So, "Forest" Ostrovsky. The landowner Gurmyzhskaya has her sights set on yesterday's poor high school student, whom she has lodged with her and wishes to marry to a poor relative, Aksinya, in order to be closer. And the poor girl loves the merchant's son and wants to marry him. But the scandal in the noble family broke out not for this reason, but because the overgrown nephew of Gurmyzhskaya, who once showed up at the house with a friend, turned out to be an actor. And what, do you imagine a landowner's house from post-reform Russia? No matter how. Wall mural depicting a forest, bamboo curtains, a radiogram on long thin legs, Czech glass chandeliers, passbooks instead of gold, leatherette jackets, wedges, embroidered sheepskin coats - Serebrennikov moved the action a century ahead, to the Brezhnev seventies. It would seem that this is also a trick for me - where classical plays have not been converted, but this time the flight is breathtaking (is it because these are the attributes of childhood?). Gurmyzhskaya (Natalya Tenyakova) has become older, now she looks like an elderly nomenklatura widow. Her confidante Ulita (Evgenia Dobrovolskaya), on the contrary, has become younger, and respectable neighbors have changed their gender to female. Woman's kingdom, in a word. At first glance, all these operations have the same meaning - to make it funny. Of course, it's funny when Schastlivtsev and Neschastlivtsev (Vanguard Leontiev in bandaged glasses and a huge, loud Dmitry Nazarov) meet for beer in the station cafeteria and by the end of the booze a neon sign lights up above their heads "Should I hang myself?". Vosmibratov (Alexander Mokhov), in order to please Gurmyzhskaya, falls to her with a children's choir: white top, black bottom, white knee-high socks, "Reserved motive, reserved distance ...". Neschastlivtsev, having appeared in a house where he had not been for many years, reads with a tremor in Brodsky's voice, and Peter at night on the playground sings to Aksyusha to Vysotsky's guitar. Every second scene will draw on a separate concert number - since the time of Meyerhold, this directorial style has been called "montage of attractions." But this "Forest" is not good for its assembly dashing. Meyerhold's play (1924) was described as a satire on the past and agitation for the new. Young, new people Aksyusha and Peter took off over the stage on the rope "giant steps" - there was such a fair attraction. Serebrennikov, who dedicated his performance to Meyerhold and the Soviet theater, is not the same. He has Aksyusha and Peter (Anastasia Skorik and Oleg Mazurov) swinging on a cramped children's swing, and if the ridiculous, shameful, but humanly understandable lust of an elderly aunt for a young body, at least somehow, at least with a stretch, but still can pass for love, then these new ones have neither flight nor feelings, one penny calculation. One might think that in his performance the domineering old women and dull youth are opposed by a special tribe - reckless, broad-hearted people, actors. And that's true. But what, in fact, Serebrennikov is driving towards, becomes obvious only in the final - and this is already pure Sots Art.

For her own wedding, Gurmyzhskaya is a prima donna in a blond wig and varnished over-the-knee boots. “Gentlemen! - the neatly combed juvenile dude Bulanov (Yuri Chursin) comes to the forefront and freezes in a familiar pose: a mixture of determination and lack of will, hands clasped in the groin area - either this is the guarantor of the Constitution himself, or the parodist Galkin. “Although I am young, I take not only my own, but also public affairs very close to my heart and would like to serve society.” The children's choir is playing "Belovezhskaya Pushcha" in a new way. “Your bison’s children don’t want to die out,” the tiny lop-eared soloist brings out, taking the same pose as Bulanov’s. The confused, limp bride's eyes are watery with happiness.

For four hours, Serebrennikov told a lot of things: about acting freemen in the contract world, about the first love of new people, cool as a dog's nose, and about the last love, blind and shameless. But in the end, all four hours he talked and lamented about how this elderly, domineering woman, yearning for a strong male hand, had done it - Russia.

The classic play by Alexander Ostrovsky "The Forest" was staged by Kirill Serebryannikov at the Moscow Art Theater. Chekhov in 2004. "The funniest" production of the eminent director is dedicated to the "Soviet Theater and Vsevolod Meyerhold". And perhaps that is why the action of the play takes place in the 70s of the last century.

The performance "Forest" at the Moscow Art Theater. Chekhov staged by Kirill Serebryannikov does not lose popularity. The director managed to create an organic acting ensemble, which included not only eminent masters of the stage, but also recent graduates:

• Anastasia Skorik;
• Ksenia Teplova;
• Alexander Molochnikov;
• Evgenia Dobrovolskaya;
• Yanina Kolesnichenko;
• Natalya Tenyakova;
• Galina Kindinova;
• Raisa Maksimova;
• Oleg Topolyansky;
• Oleg Mazurov;
• Dmitry Nazarov;
• Vanguard Leontiev.

Kirill Serebryannikov shows that the price of freedom is measured in monetary terms at all times. Love is easily bought and sold. The plot of the performance of the Moscow Art Theater is simple and familiar to many viewers. A middle-aged wealthy lady falls in love with a boy (Alexander Molochnikov) and does everything to arrange her woman's happiness. She gets rid of "poor relatives" and arranges a wedding. The performance of the Moscow Art Theater "The Forest" is interesting not so much for the originality of the plot, but for the circumstances in which it is placed.

"Forest", as a performance, practically does not differ from the original text. However, the action here takes place in the house of the party lady Gurmyzhskaya Raisa Pavlovna (Natalya Tenyakova), a woman who decides the fate of many people. She lives in interiors copied from foreign magazines, keeps maids, sews clothes exclusively from dressmakers. Being the queen of her own female kingdom, she is not only a benefactor, but also a trendsetter. Next to her are her faithful girlfriends. By the way, many male roles in the production have become female.

The play "The Forest" is divided into episodes that are more like tricks in a cabaret. Aksyusha (Anastasia Skorik, Ksenia Teplova) in the form of an angel flies over the stage, the bride Gurmyzhskaya reminds Pugacheva, Schastlivtsev (Vanguard Leontiev) and Neschastlivtsev (Dmitry Nazarov) are having philosophical conversations in a pub. The performance, broken into numbers, eventually merges into a single canvas, showing the absurdity of that time with loud speeches of party workers and empty shelves in stores.

In the play "Forest" of the Moscow Art Theater. Chekhov has many attributes of the Soviet era, familiar to many: radiograms, crystal chandeliers, large wooden boxes for savings, photo wallpapers (scenography - Nikolai Simonov). A special place in the performance of the Moscow Art Theater is occupied by costumes, on which the director worked together with artist Evgenia Panfilova. Despite the preserved original text of Ostrovsky's play, the characters, thanks to the external surroundings, look organic and recognizable. It was these wealthy young ladies that we often saw in Soviet times on the streets of Moscow.

Vysotsky's songs, Portuguese and French melodies are used as musical accompaniment in the performance of the Moscow Art Theater. A children's choir also appears on the stage, which gives the atmosphere of the "Forest" a logical stylistic completeness. Musical director The performance was performed by Vasily Nemirovich-Danchenko.

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