Pre-Premiere Impressions

We invite you to Tango!

The riddle of this play begins with a title. Tango - what is it? We know that this is a dance. But what does it mean, where did it come from? Someone says that tango is an ancient god, and the dance is dedicated to him. The word tango also means the place where African slave traders used to hold and sell black slaves. They say that there, among the indigenous population of Africa, this dance originated. We don’t know how it really was ...

But we know for sure that disintegration and decomposition in the family, society, and state always begin with the loss of ties. What is the connecting thread necessary to prevent decay? We think love. Is it possible to replace love with a social apparatus, a complex social structure or dictatorship? Who knows ... Let's talk about this together.

Igor Nevedrov

The play “Tango” will be only the second after the legendary “Maids” by Jean Genet, the Roman Viktyuk Theater’s appeal to the now classic, but still difficult for the stage interpretation, contradictory and even mystical drama of the so-called “theater of paradox” (better known as theater absurdity). There is a huge break between these appeals, and all the more valuable is the fact that the leading artist of the theater and director Igor Nevedrov addressed the play by Slavomir Mrozhek, one of the brightest representatives of this literary style, who has already staged the Venetian and Love Not joking. " Continuing the traditions of the non-domestic, figurative, multifaceted theater of Roman Viktyuk, from the very first productions Nevedrov formed his own, recognizable directorial style. And the play “Tango,” which, for all its fame, very rarely found its stage embodiment — and successful even less so — will sound in his production in a completely new way.

At first glance, the plot is simple and understandable - a young man named Arthur wants to change the world for the better, and decides to start with his own family, which the breakup comprehended. The family, represented by three generations, completely lost understanding of the basic life and moral values, about all social ties. In his own words, it is "a mess where nothing works, because everything is allowed to everyone." And the apparent simplicity ends here - is salvation within the framework of one family possible? At least in this small world, which for Arthur means - the whole world? Or will it all begin and end with memories of a beautiful past, where all of them, young and old, were still something, were canon-destroying rebels?

Can a game in a space where all objects have lost their usual, original meaning, turning into just its decoration, become a substitute for real life? Can a mockingly mediocre theatrical experiment on a biblical theme, instigated by Arthur's father, rise to the real heights of this topic?

And is it possible to somehow glue the creature of this family, taken apart in parts, or the only way out is Arthur’s desperate cry “leave, I will create you again!” ... and his subsequent death?

Once dancing tango was equal to rebellion against the rules and norms of morality. Once upon a time, a generation of Arthur's parents fought for the right to dance. But rebellion is so terrible because it is uncontrollable. And now, when all ties are destroyed, and values are destroyed, and there is nothing left but power, the rebel dance will turn into a dance of triumph of a petty, vulgar, charming and convincing evil, performed on the ruins of this small ... and such a big world.

“Tango” is a multifaceted material: strange, funny and tragic at the same time, paradoxical and attractive with its paradoxicality, the possibility of infinite immersion into the depths and an infinite number of answers to questions - each has its own.