Ричард Iii16+
Story
Rehearsals include: Maxim Sevrinovsky, Olga Tumaykina, Anna Antonova, Ksenia Kubasova, Igor Kartashev, Sergei Pinegin, Yuri Polyak, Vladimir Logvinov, and others.
"Richard III" - the most popular play of Shakespeare's ten chronicles, published during the author's life six times.
Richard in the struggle for power despised the notion of morality, conscience, compassion. His aggression sweeps away everything human in its path. He is cunning, resourceful, ruthless. Destroying all possible rivals, does not stop at nothing to achieve the goal.
The miseries of conscience are unknown to him. Having attained supreme power, Richard became friends with loneliness. He is hated by everyone - both lords and people. The first raise uprising. Richard is in a panic, he is tormented by nightmares .. He can not find an ally. Postulate: "A fist is our conscience, and the law is a sword for us," does not work. He is wounded, lonely, helpless, but ready for battle. "Horse, horse! I will give the crown for the horse! "...
This is the finale of the hromonogo hunchback, the titan of evil Richard III.
The director of the performance Avtandil Varsimashvili:
"The play" Richard III "is brilliant. This is an encyclopaedia of power, a textbook of state power, a guide to seizing the throne. Shakespeare unmistakably showed the character of dictators of all times and peoples. A few centuries before Napoleon, Stalin, Hitler and other usurpers of power, he seemed to have foretold us their appearance and at the same time fantastically accurately described the psychological process of decomposition of the dictator's personality when he is already up to his neck in blood and in his life there is no longer the main goals. Therefore, Richard's steps before conquering the throne are unique, unparalleled, and after the seizure of power, all his moves are banal and predictable. I care about this very topic: how does a person live when there is no real goal in his life? Shakespeare put very often, but very rarely put it well. Not everyone can understand and embody his style, because Shakespeare requires special actors. It is necessary to be able to change lightning speed not only the tempo, but sometimes the image, because Shakespeare's theater is a theater of the actors, capable of instantly dumping one mask from the person and then wearing another. He, unlike other authors, does not need the usual psychological truth - he needs only theatrical truth. Shakespeare's style of play is precisely theatricality, in the true sense of the term. Therefore, I am grateful to my elder friend, the outstanding director Rimas Tuminas, for putting Shakespeare in the Vakhtangov Theater, where, as not here, they know the price of genuine theatricality! "
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