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Through Salieri’s Eyes
An attempt to stage Pushkin’s “Little Tragedies” at the Chekhov Art Theatre ended in failure. By Marina Davydova, Moscow News
“Little Tragedies” is not only a classic school text, etched into the consciousness of the statistically average Russian intellectual in the form of a collection of quotations. To utter these words as if they are being read for the first time is practically impossible. But no one’s compelled to do that. Why burden yourself unbearably when you can choose a load that suits your shoulders? If Roman Kozak, who staged “The Covetous Knight” and “The Stone Guest” on the New Stage at the Art Theatre, had been staggering under a weight, the criticism would have been different. It’s not that Kozak can’t lift the weight – he doesn’t even try. “Why don’t we take on William Shakespeare?, ” asks an amateur director in a film that was loved all over the Soviet Union. Kozak, it seems, has asked the very same question. He assaults Pushkin’s dramatic work using hatred and insolence, possibly pardonable in a neophyte or an amateur. But Kozak is no neophyte.. It’s not the lack of professionalism, but, to put it grandiloquently, the common cultural context. Lightness of thought was the trademark of the times – a magazine in the newspaper-tacked-on-a-wall genre, an evening of poetry in the spirit of light conversation, the drama in the tradition of the skit. In our case not even a skit, since the last presumes wit and gaiety, while the Art Theatre production (not counting isolated snippets), wound up being inarticulate and boring, for itself and its friends, who will watch everything holding their heads in their hands. At one time, a young Roman Kozak produced Ludmila Petrushevskaya’s “Cinzano” at the Chelovek Theatre Studio. The relationships between the characters, who understood each other with half a word, coincided almost exactly with what was unfolding inside the small troupe. Of course, some things in Kozak’s latest play recall former times. The knight commander, who speaks with the voice of the theatre’s main director, Oleg Yefremov, was wonderfully conceived. His gypsum statue (more precisely, its lower half) could stand in diminuitive form in the chambers of Donna Anna, and in grotesque magnification, it would outclass Don Juan’s nether regions. Indeed, Don Juan himself, performed by Sergei Shkalikov (perhaps the sole acting success of the play) is also youthfully, and occasionally childishly, unconstrained. This Don Juan, mingling cynicism with directness in a surprising way, bored during Donna Anna’s confessional story, and fearlessly throwing himself at the feet of the knight commander’s statue, bears no resemblance to a Pushkin’s character; more a heathen Don Juan, incapable of love, from Tirso de Molina’s “El Burlador de Sevilla”. Shkalikov’s hero is probably the sole hint of a concept to which, generally speaking, the director applied himself and which doesn’t burden the audience. Забиваем Сайты В ТОП КУВАЛДОЙ - Уникальные возможности от SeoHammer
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V. Discuss the play “little Tragedies” as: · two critics · an actor and a journalist · two theatre-goers.
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