Young guys and girls with honest and open faces. They carefully and fairly deftly move furniture, strain the vocal cords, some are exposed - in general, they fully act as an instrument of "someone else's, unkind will." They are sincerely sorry. But have not any of them ever wondered if he is doing something wrong in life? The production as a whole is an empty and unprofessional thing (I can not call it work). There is no directing. The material, of course, is not easy (civil war). And the very prose of Babel is not for the faint-hearted. But why turn human pain into "comic verses"? What type of new art does that require? I think it is wrong to mask the lack of talent spetsefektami, nude nature and tricks with sound and scenery. Music is also past (it is not surprising, the composer with the director has a long creative tandem). Choreography in general for the company is rather weak. Although in this setting, she should, in theory, draw (exception - the girl who performed the general number in the first row, perhaps she is a choreographer: the difference with the rest is striking). In terms of acting, I will only note the scene with the letter. Monologue of the son, narrating about revenge to the father and drawing white crosses. This scene was on the level. But another scene with the same actor ("the cartridge on me must be stricken") is spoiled by his partners. In general, but should you wait for something more from the student's skits? Probably not, but I do not rule out that Babel himself would have cut all this self-activity into small cabbage.
About the play "Cavalry" Dir. Maxim Didenko Center for them. Meyerhold (1.11.17) This performance feels like a tightrope walker performing a complicated and risky number. And at the moment when he was already convinced in the class of skill, he breaks down - so ingenuously that you do not know whether to sympathize with him or resent it. Find a stage equivalent to the Babel word - the task is not a template one. Speech norm of this author is difficult to overcome till now. But it seems that Maxim Didenko managed to find the source code. On the field of well-tempered episodes in the excitement of violent dances and choral gulbis, the unsubstantiated explosive youth of the actors is thriving. The queue of actor's pieces and feints, the ensemble character of the performance, solo "tricks", and the overall pressure of the performance - realize, as well as possible, a free stream of Babel's text in the rebellious Sabbath. And an empty stage box for such a game - the best place for any scenographic transformation. Where the tricky rhythm of the transitions from stage to stage fascinates, like the tricks of a skilful illusionist. A special impression of the play-list of the production, the more valuable is that the performance of the composer is Ivan Kushnir. In some places, musical intonation breaks to the heights of a truly dramaturgic speech. But, for all the gentleness, more than two-hour performance, you involuntarily begin to worry: will the director be able to withstand the degree of tension before the final codes? Of course, a stunning text requires a strong stage gesture. And maybe not all the symbolism of the rich action was deciphered from the first time, but the ruthless nature of the mutiny is revealed in such frank fullness and naked abundance that the actors feel sorry for the selfless waste of such a resource. In a daring move, of course, there is a lot of theatrical courage, but it seems that such things are taken on a breathless breath, like a shot. Any excess - lowers the status of the expression. Babel understood this perfectly and had the secret of a sufficient word. Even the fact that the more an open body was displayed, the less clearness of the spoken words was observed - it makes you smile. But, with all that, we must admit that the total number of rooms (thoroughbred dominants of the show) deserves to be given something selectively for encore in the conservative traditions, on applause. A similar tradition does not seem to exist in a dramatic theater, but I think that "Cenarmia", for all its extraordinary unusuality, can afford it. But in general, excellent, skillful work. The total score for the five-point system: 4+, in decimal: 9.
It was an excellent performance. It's hard to say who liked it more - me or my son ??? Beauty in simplicity! And not in a motley, as it usually happens at other children's events. But not here. And the music is live !!! And everything is so close. Soon we will have you again :) Natasha and Vasya.
Money, sex, power are the three pillars on which journalism is held. It began long before our century, it was in the history of Siegfried and Brunhilde. The story of Siegfried and Brunnhild in the play by Xenia Zorina, masterfully narrated by the actors of the Center for them. Meyerhold is a story not only about the fact that love exists. This is the story that love - it is bloody, it needs death, many deaths - one after another. Love needs revenge. A story about what will happen if you endure pain for decades. About how they fall in love - sharply, quickly - once and for all. That there is only one reciprocity, and near - a whirlwind of irresponsibility. This is a story about power - the mother's power over her children, her brother over her sister, her beloved wife over unloved husbands. And about the money for which you can treacherously give your daughter to someone who is stronger. She is about a strong man, becoming weak before his dreams. About what a strong woman and a weak man can do. A story about a debt that can be broken if love demands it. 5 actors tell us a story. Each about himself, each his own, all together - a story about Siegfried and Brunhilde. There is no need for scenery and costumes, there is no need for stage movement and light. Here there are eyes, voice, intonation. And the palm of the hand on the table is neat or desperate, so much talking about the love of Siegfried and Brunhilde.
The only plus of the production - it's short. Is presented as a genre of story retelling, but neither the actors nor the director could find and find the thread that will unfold the plot to the viewer. Is completely uninteresting.
Was on the play 13.02.2015. Many thanks to the director Vyacheslav Chebotarya and the actresses Alexandra Kuzenkina and Anastasia Pronina for the excellent work. Bravo! As a filigree game of young actresses captivates spectators. Forgetting everything in this world, only you, and only the girl's monologue, represented by the virtuoso play of Anastasia and Alexandra. I wanted to watch and listen endlessly. I was with my daughter and her friends. At the end of the play we cried! This performance I will put in a coin box of the best performances! Bravo!
I was at this play a year ago and still can not forget it. Light, two girls on stage. They play amazingly. At first, the audience laughs, but as the tension increases, they become silent. Believe, you can not forget this performance. So far, the final lines in my head "one day we will all be happy ... one day we will all be happy ...".
Two young actresses, a small scene of the Black Hall Center. Meyerhold, .. To recover and be able to talk about what I saw and heard, I had to wait two weeks. I watch a lot of performances, but only this confession - how else can I characterize? - has evoked in me all possible feelings and emotions Brilliantly! Thank you.