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Красное колесо

Красное колесо16+

Purchased earlier: 20
Location:
Москва, Суворовская пл., 2
Duration:
02 h 00 min
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Story

In the play there are no parts, chapters and offices. There are four rigid knots in which the destinies of tsarist Russia, peoples and future generations are tied. The play destroys stereotypes, changing the stagnant view of recognizable historical personalities, among them Stolypin, Lenin, Nicholas II, Bagrov. For example, the ideological revolutionary Krupskaya appears as a living woman with a wounded soul, exhausted with love for her genius. The future All-Russian Emperor Nicholas II is shown by a loving father and a good family man, despite the theme of "Russian ballet", which is also present on the stage.
Dramaturgy of the play introduces the viewer deep into the era in which the fatal approach of the red wheel is felt. Heavy material - the arguments about Stolypin and his murderer, educated intellectual Bagrov - served lightly and at ease through three lovely gossips, two aunts and a young niece. Their conversations resemble discussions in modern social networks.
The play "The Red Wheel" enables viewers to feel inside of those events, and not just to be outside observers. The chairs are arranged by the amphitheater right on the stage along the Great Circle, the action itself is in the Small Circle. Documentary video creates a special emotional tension.
The first appeal of BA. Morozova to the work of AI. Solzhenitsyn was held at the Maly Theater, where in 1995, with great success, he staged the play "The Feast of the Winners" by A.I. Solzhenitsyn. Not only spectators and critics highly appreciated the performance, but the author himself called the "Feast of the Winners" Boris Morozov "one of the happy moments of his life".
The screenwriter, playwright Olga Lyubimova says: "There is not a single word invented by me in the play! I deciphered the compressed historical facts from 8 volumes of Solzhenitsyn's novel, putting together from separate pieces, like puzzles, theatrical scenes, the conversations of living people. Alexander Isaevich had such a distinctive, distinctive language that even inserting any verbs-bundles for me would be blasphemy. I played with punctuation! My task was to carefully transfer the attitude of Alexander Isaevich to his heroes through means of art. "
And, finally, the main idea of ​​the production, as defined by Boris Morozov, which will be embodied in a bright, lively, timely, timely, pulsating performance, is: "We need to know the history in order to feel the present more sharply."
Directed by Boris Morozov
Playwright Olga Lyubimova
Composer Ruben Zatikyan
Artist Anastasia Glebova
Costume Designer Andrey Klimov
Cast:
on. Russia Olga Bogdanova, za.a of Russia Andrey Egorov, Natalia Kursevich, Igor Marchenko, Andrey Novikov
Artists of the Army Theater: Natalia Aristova, Maria Belonenko, Roman Bogdanov, Ilya Baranov, Andrey Kochinov, Anna Voropaeva, Anastasia Busygina, Mikhail Danilyuk, Tatyana Morozova, Yaroslav Berezhnov, Elena Anisimova and others.
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