According to the prose of Yuri Mamleev and Anton Pavlovich Chekhov
"Prose" is based on the texts of Yuri Mamleev and Anton Pavlovich Chekhov - the most rigid and uncompromising, in the opinion of the authors of the opera, writers in the one and half century tradition of Russian realism. They created with a difference of a whole century, but their experience in the study of human nature and social relations is relevant today, or rather, precisely today.
Composer Vladimir Rannev treats Yuri Mamleev's story "The Bridegroom" and fragments of Chekhov's story "The Steppe" as stages in the development of one story. The first is a sample of "cruel" prose, the second is a contemplative and almost eventless one.
Written in 1980, Mamleev's story is a hyperrealistic and at the same time phantasmagoric study of one "case" that occurred in a simple urban family and radically changed the life of heroes.
The hero of the Chekhov Steppe, the boy Yegorushka, goes to the city for upbringing to distant relatives, rejoicing in the world of nature, but already preparing for the discovery of a new, unknown and terrible world - the world of people.
Before us - one person, but seen at different times of his life, as if Chekhov and Mamleev wrote about one common for all, life, and general trouble. Different types of texts and narratives create tension between them and dictate the principal difference in their presentation, which becomes the basis for the drama of Rannev's opera and helps to unfold before the viewer the statement about the complex nature of the relationships of people in modern society.
"One of the leading Russian contemporary composers, Vladimir Runnev has been working in the theater for several years: in 2012 he already directed the opera" Two Acts "on the libretto of Dmitry Alexandrovich Prigov, and in purely instrumental works consistently experiments with theatrical discourse. In his fourth opera, Rannev performs simultaneously as a librettist who installs the texts of Mamleev and Chekhov, and as the author of musical score for eight voices a capella, and as its director. Prose already looks in absentia as an exemplary work of contemporary art, when the artist deliberately refuses to limit the scope of his activity to a specific specialization - but uses the widest possible range of artistic means available to him to express his intention, extending his authorial will to all the elements of the theatrical whole. " (Dmitry Renansky).
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