Biography of the funnel

Boris Godunov. " The author of the idea and director Leo Stukalov, assistants in music, costumes and scenography Leonid Levin and Marina Eremaycheva almost Oberiut -mocrated slalom: a “performance that will never be staged” is played. This is the subtitle of the presentation, which will be reminded of us more than once. A strong impression of the performance in the basement of Dobrolyubov today's stronghold of “Our Theater”, his long -standing rehearsal base is associated with the last directness of the director's statement.

The theater, devoid of its angle in the stage of the stage, never waited for either the promised site in the yards of Mokhovaya Street, no other, sank to a minimum, preserving the productions designed for acting duets and a trio. The city “wrote off” the theater when it was with a strong repertoire brought up by the master of the first -class troupe. And now - the premiere.

And not something, but Boris Godunov. They put this play, put it! Meyerhold began to rehearse, Lyubimov was closed the performance, Chkheidze staged in the BDT, Sagalchik in the Alexandrinsky Theater, Stavissky in the Pushkin Center, Aimuntas Nyakroshus brought his “Boris” ... The play always remains a block, like the embedded stone of the building, never completed.

Theater of the poverty. Leo Stukalov says so, right in the course of action: the performance will never be staged. But he takes Boris Godunov incredibly deep for a single, specific production. Stukalov - yes, does not "put". He-director, along with the author-Pushkin, enter the ensemble of artists, as if commenting on the drama on the go. Double optics arises, the volume of a new measurement.

History appears not as a duration, but as a closing time of a funnel, in which no one "will go away in common." Derzhavinskaya "River of Time" is curtailed into a funnel. We are inside her.

Scene from the performance. Photo by N. Gubenko but the performance itself is “curtailed”. Not so much minimalist as concentrated: in the directorial drawing, acting. Associations with a sketch, a “reader” - a trick, while the actors have folders in their hands and monologues can be read from the sheet. That's why Pushkin was dealing with paper, Pushkin’s pen in this performance, like all the characters, goes from the artists from one to another.

Everyone tries the story on the tooth - that's the matter. Incredibly sharp, “here and now”, a pessimistic awareness of the artist of the course of history. It is no coincidence that the theater preserves the Pushkin’s initiation - "precious for the Russians in memory of Nikolai Mikhailovich Karamzin." And it is no accident that the scene in the cell is important for the performance, where Pimen and Otrepyev Lev Stukalov and Sergey Romanyuk come around the rhyme of Karamzin and Pushkin, the historian and the poet, the teacher and the student.

Gubenko yes, “Boris” is soldered with the fate of the “our theater” itself. There is a metaphysics of Boris Godunov and the theater as such. About the soil and fate without seduction, about the last wheezing of personality - in the intimate twilight space of creative imagination. The mise -en -scenes here are the strokes of this process of creating the tragedy “Comedy about trouble ...” before our eyes.

Gubenko at the same time artistry, the proprietary joy of the game did not disappear. So came from the legendary "Lipriad" Olga Kozhevnikova. She is here for imaginary, Ksenia, Fedor and for the baby Demetrius. Its childish or caustic chuckle dries the action, as once, who remembers, the signaling bell with which the carriage of the typewriter was translated. Feel the difference with the dawn of "our theater." Gubenko Stukalov, for all that, is true to himself, and he needs the choir in essence and not for the first time.

Plastic and musical image, connecting the substance of action. Dmitry Lebedev and Sergey Romanyuk, like cheese in oil, ride-skim in their instant artistic transformations. Their sketch in the law of the performance is in fact there is an essential and terrible accent, which is opposed by the unexpected leader of the ensemble, the Lev Stukalov itself. The director, included in the action actively participating in the game, where artists easily convey roles to each other, does not lose the through thread: this is a continuous reflection of the artist director, playwright, comprehension of the metaphysics of history.

Romaniuk, D. Lebedev in the play. Gubenko, an impostor is ... nothing to do with it, he is “who” is what he, in fact, is Marina Mnishek about. In the tavern, it is not he, but Pushkin himself is sitting in the window from the bailiffs right to him, then create his comedy-tragedy. From hand to hand it passes by ochenko, almost Maslenic, it grows here into a huge buzz of the troops of False Dmitry, but it also means another phantom, namely the murdered prince.

Romaniuk, O. Kozhevnikova in the play. Killers, defectors, intriguers - all. Here is the farewell monologue of Boris, the complete senseless parting words and instructions: Leo Stukalov reads the Pushkin text with deep irony and the same tired sadness - while Boris only wheezes, choking with blood. He was just about to accept the foreign envoys of Chain and Stox, and here they are: a well-known in medicine, the phenomenon of the dying surface breathing of Chain-Koksa, mentioned, by the way, in the reports of Stalin's health.

And now, not only Boris is flooded with blood, but the whole of Russia, “washed” by the artem cheerful.He is silent, rolling his eyes on the white faces. Photo by A. Koksharov Black table and chairs on stage, black overalls on the entire ensemble of artists of “Our Theater”, one color stain - a piece of brocade, as multifunctional as the mentioned table and chairs.

The beautiful Pushkin text, the five-stage non-rhymic iambic "Boris Godunov" sounds in a new way and very modern. In the performance, we are talking about, no less, about the metaphysics of history. Those “tsarist chambers” that we imagine after the poet and director in the basement on Dobrolyubov Avenue are visible, voiced, tragic. Yes, the story makes the loops, not inspiring optimism, and the word “Certain” from the text of the tragedy crashes into consciousness.

But the agony of Boris, no matter how much it is felt, is not the last word of “our theater”. The act of creativity is a saving perpendicular, if the director is honest, when he closes the times, passes the tragedy through himself - and does not try to sit on two chairs, taking up historical material. April G.