Seasonal paintings from the poems of Russian poets Nikolai Nekrasov, Nikolai Zabolotsky and Varlam Shalamov become a refrain to the story of dying in a beautiful high-mountain sanatorium. Spring with "pale gums", a dreary autumn, the heat-raining summer - radiant, transparent in its architecture lines were written in difficult times for their writers. Wrote as if there were no troubles, no camps, no death. The heroes of the famous novel Thomas Mann, published in 1924 and heard as an alarming foreshadowing of the future war, live and are treated in the Alps, where the air is so clean that it is difficult to swallow with unaccustomed use.
Thomas Mann's novel begins with the arrival of Hans Kastorp in a sanatorium where his cousin is. Castorp hears Austrian painful cough, he is settled into the room where a young American woman just died, they say that in the winter the corpses are lowered down on bobsleds, and they convince that the time here flows quite differently from below.
In the theatrical sense, this shortest way to another space is realized in the refusal of interpretation - here its limit is reached. Mann's text, exciting and perfect, almost does not sound, but it certainly is present. The body of the text died, but the spirit remained. This spirit lives in the works belonging to the director, in music, in fictional characters, in the space of Larisa Lomakina.
The spectator is present at dialogue of the director with itself - and in this act of egoism the basic honesty of the artists is created, creating "Magic mountain" outside of compromises. Together with them we make an ascent to a high-altitude region where the sun does not give joy so much as provoking rotting, but beautiful words shine like ice.
"Magic Mountain" - the first work of Konstantin Bogomolov in the Stanislavsky Electrotheater.
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