THE SAVING SPIRIT OF BEAUTY. Premiere at the Theater in the South-West: Valery Belyakovich. "Dolls" based on Jacinto Grau's tragic farce "Señor Pygmalion"
Elena Movchan
Elena Movchan
THE SAVING SPIRIT OF BEAUTY. Premiere at the Theater in the South-West: Valery Belyakovich. "Dolls" based on Jacinto Grau's tragic farce "Señor Pygmalion"
This performance is extraordinarily beautiful - beautiful with some kind of eerie, tragic beauty. It is created by the exquisite scenography of Valery Belyakovich, and the subtle play of light (V. Klimov), and carefully selected beautiful music (M. Korotkov). Beauty reveals itself even before the performance begins. The spectators are seated, the hall is filled, or rather, packed to capacity: people are sitting in all the aisles, even the exits from the hall are lined with chairs. There is silence, and eyes finally turn to the stage, immersed in twilight, illuminated only by the light from the hall. Mirrors are placed in a semicircle along the back of the stage, and the reflection of the auditorium in them resembles a giant panel by Pablo Picasso - both in composition and, strangely, even in color scheme. The first musical chords are heard and the performance begins. The actors enter the stage, the mirrored doors swing open, and puppet actors emerge from the mirrored wardrobes. The world of the Looking Glass merges with the real world. This prologue, full of amazing plasticity, carries a deep meaning and sets the tone for all subsequent action.
The action unfolds rapidly and inevitably leads to a tragic ending. The eternal myth of Pygmalion, who showed the miracle of creativity - like God, who created man and loved his creation - appears before us again. The great puppeteer Senor Pygmalion (E. Bakalov), creator of the famous puppet theater, whose dolls are practically indistinguishable from living people, comes to Madrid. Theater actors, whose performances have been supplanted by touring performers, are indignant, but behind their indignation there is fear: what if these dolls are actually superior to them, living actors, and then they will no longer be needed and in demand, and this is the collapse of the acting profession, the end of them, acting, creativity... Such is the conflict, and behind it new and new questions arise. Can living feelings and passions be replaced by mechanical imitation? Can the creations of human hands become like the creations of God? Can man, like God, create and manage his own world? These are the difficult questions posed by the play “Dolls” at the Theater in the South-West.
Valery Belyakovich decisively and boldly reworked the play by the Spanish playwright Jacinto Grau, written in 1921, leaving only the main conflict and the main characters, while adding new scenes and introducing new characters. In addition to the “main” Pygmalion, two more appear in the play: “false Pygmalion” (the Brandahwhip doll) and Pygmalion-2, and thus a chain arises - the creator, his alter ego and the imitator. The role of the imitator, the “false Pygmalion” who controls the dolls, was brilliantly played by A. Ivanov, who quite unexpectedly turned from a hero-lover into a talented character artist. His monologue, which refers to theatrical movements and discussions of the beginning of the last century, sounds parodic and at the same time very relevant. And the refrain “These are dolls!”, delivered each time with a new intonation, is literally etched into the minds of the audience.
What are these dolls? They (and False Pygmalion is also a doll) are the main characters of the play; it is not for nothing that V. Belyakovich changed the title of H. Grau’s play - not “Signor Pygmalion”, but “Dolls”. The puppet ensemble plays superbly, combining the plasticity of puppets and living, human plasticity, without over-exerting anything, without allowing the slightest falsehood. The night scene, in which the dolls try their best to resemble people with their earthly passions and instincts, is played with great tact and taste. Alas, puppet passions cannot have a real embodiment, and this existentiality of the situation is conveyed plastically subtly, in strict accordance with the genre definition of the play - tragifarce. At first, the dolls' futile attempts are funny, then all these chaotic movements develop into some kind of creepy phantasmagoria. And the furious cry of the Cherub (O. Leushin): “Dolls, stop!.. Pygmalion, is this what you wanted?!” - breaks a vicious circle, a vicious circle, when a desire is not confirmed by feeling and its implementation is impossible. It is also impossible to carry out a puppet rebellion against the tyrant Pygmalion. This scene is done in the style of a parody. Imitating people, the dolls create their own bodies of self-government: “You will be a parliament... And you are the people who are oppressed by everyone... And I will stay with Pygmalion and spy on your behalf...” The audience laughs, but the ending is a foregone conclusion, the tragic outcome is predetermined. And when the doll Pomponina (K. Dymont), Pygmalion’s favorite creation, kills him with multiple shots from a pistol and continues to automatically pull the trigger, producing dull, short clicks, it becomes clear that this is murder and suicide at the same time, because the dolls are helpless without their creator. And so they reach out to him and lie down around him - not lifeless, but “windless.”
What about people? Actors, entrepreneurs, the philanthropist duke, his wife? Shocked by the dolls of Lord Pygmalion, their indistinguishability from people, they merge with them, communicate as equals, Duke Alducar (V. Afanasyev) falls in love with Pomponina and behaves with her as with a living woman. “We are just like them...” people say to Pygmalion. “We are dolls too.” But no. People, with all their sins and shortcomings, are the creations of God, and not of man, who imagined himself to be the Creator. God created them in his own image and likeness, and this is the image of the Creator. He instilled in them the spirit of creativity, the ability to create, and this is what will prevent them from becoming puppets.
This is the ending of the play and the play, written by V. Belyakovich. Pygmalion-2 (V. Belyakovich) appears on stage when, it would seem, everything is over: the dolls, along with their creator, are dead, and shocked people froze around them. He pronounces the final monologue and gives the floor to the actors, who simultaneously read the initial stanzas of their monologues from Shakespeare's plays: Lear, Hamlet...
The play "Dolls" has already become a landmark for the Theater in the South-West. Such a landmark performance was “Molière” by M. Bulgakov in this theater, recently removed from the repertoire due to the death of Viktor Avilov, the inimitable Molière. "Molière" of the Theater in the South-West had its own clear and clear concept, and in "Dolls" we see its new affirmation and development. The main thing in “Molière,” staged by V. Belyakovich in the early 80s, was not the line between artist and power, which was usually emphasized in productions of Bulgakov’s play, but the theme of creativity as the only opportunity to live in this world full of dangers. And when at the end of that performance a bunch of lost actors surrounded their Teacher, their hearts sank with pain for them: what should they do now in this world without him, who created them and endowed them with creative fire? And here in “Dolls” there is an answer to that painful question: creative burning is divine, it cannot fade away. The spirit of creativity, living, true creativity, revealing beauty to the world, is saving.
Premiere performance of the Kaliningrad Regional Drama Theater.
A play by Valery Belyakovich based on Jacinto Grau's tragic farce "Señor Pygmalion".
Director and production designer - Vyacheslav Vittikh (Moscow).
The Kaliningrad audience has probably never received such a theatrical shock.
For the spectacle (fast-paced action, unexpected stunts, monologues and dialogues, individual movements and well-coordinated team play of actors, musical and lighting effects) to electrify and inspire the audience to such an extent - we don’t remember this since the day of the Russian football players’ victory over Holland with a score of 3:0 .
Crowds of people had to take to the streets and chant: “Our theater is a champion!”
Fortunately, a theatrical performance is an exclusive thing, and not everyone can see it.
That's the only reason the city survived.
Honestly, I never expected such energetic power from a theater that had become tired in recent years.
A wizard, a master, just arrived, took his wonderful and at the same time terrible dolls out of his case - and they created a sensation.
In principle, that’s how it was. The director brought a precise, tough, well-thought-out stage solution - and embodied it (with the help of a talented and skilled Kaliningrad troupe and artistic production team) into a breathtakingly beautiful performance.
Without forgetting to do something elusive and most importantly: breathe the mystery of life into your collective creation. More precisely, to breathe life and mystery...
Well, how is Adam or Galatea made from ordinary clay?
It is unlikely that we will understand this, and we are unlikely to be able to repeat it.
Pygmalions are now a rarity.
The performance amazes with the courage and simplicity of the solutions found.
The curtain opens and aerialists hover above us like living puppets. The spectacle lasts a few seconds - but the feeling of childish delight has already entered the soul and lifted the audience.
Now they will believe in any conventions, because they have already found themselves in the world of theater and circus.
The stage is fenced in a circle, like an arena, with curtain-columns, but when they, miraculously illuminated (lighting designer - Lyudmila Voronina), rise, transparent boxes with dolls appear under them. Like crystal sarcophagi coffins. And which of them will come out? Is he alive or dead? Can he (or she) be trusted?
This question keeps the whole room in suspense - and does not find an answer.
When the speaker’s facial expressions do not coincide with the meaning of what was said, one becomes somehow uneasy, and the viewer laughs nervously.
Artist Marina Jungans brilliantly achieves the necessary tragicomic effect, creating the image of a doll named Captain Momona using grotesque clown plasticity.
A huge gun is a prop, but who knows, if the spring in the head comes off... Mechanisms, although similar to people, do not know how to spare.
The other characters (a team of Spanish producers who look like matadors) are positioned on stage in such a way as to take the place of these mysterious dolls at any moment. The strict symmetrical arrangement of the group does not turn it into a crowd. Vice versa!
Each individual character - although everyone is dressed according to the principle of “red and black” - people, “white and red” - dolls - is presented individually, dressed beautifully, recognizable and unique.
You can’t take your eyes off Nadezhda Ilyina and Lyudmila Zinovieva. The roles are not the main ones, but the visual load is one hundred percent.
Three honored artists - Nikolai Zakharov, Volemir Gruzets, Yuri Kharlambov - deserve to be photographed next to them for money.
The infernal Pyotr Mutin would perhaps outshine the great tragic actors in Pygmalion's monologue.
The charismatic figure of Alexey Pereberin is at the center of any composition.
What the flexible and comedically gifted Alexander Fedorenko and Anton Zakharov do is worthy of individual applause and an encore.
But the most amazing role went to Alena Kolesnik. Playing such a role doesn’t require any Oscar!
Of course, she is helped by winning, dramatic music and incredibly beautiful design, but the actress conveys the dual and dark essence of her character using her extraordinary abilities, her skill and talent.
What is written (drawn) on her face is literally the duplicity of beauty,
finds convincing confirmation at every moment of her existence on stage.
Deadly temptation comes from the image of Pompanina.
And we believe that even the Duke himself could not resist her destructive charm.
But we didn’t say anything about other dolls! About funny and scary characters at the same time, very accurately, in the genre of a tragic farce, played by wonderful young actors. Each of them is a personality. And together - a powerful, well-coordinated ensemble.
The theater succeeded in the main thing - to emotionally convince the viewer that each character in this modern tragic farce is capable of suffering, “bleeding cranberry juice,” and that all this is related to his own life.
No, those who have not seen this will still not understand.
Just as a person who wants to sleep will not understand the midnight delights of football fans.
Sleep well, man who has never seen the Theater!
Friends, if you do not have the opportunity to read Bernard Shaw's play Pygmalion, watch this video. This is the story of how two men made a bet on a girl. Wrote Shaw's play in 1913. Events take place in London. This is a play in five acts. I’ll explain the name to you right away. There is an ancient myth about the sculptor Pygmalion. He created a statue of a girl and fell in love with her. He then asked the goddess Aphrodite to bring the statue to life. Well, the statue came to life. So... Imagine a rainy summer evening. Passers-by run to the church, where they can take shelter from the rain. An elderly lady and her daughter are nervous and waiting for Freddie (the lady's son), who has gone to look for a taxi. Finally he's back. - There are no taxis anywhere! - Freddie said. - So, let's go look! And the poor guy went out into the rain again to look for a taxi. He ran into a street flower girl and knocked a basket of flowers out of her hands. “Freddie, what the fuck,” she said. The guy ran on, and the girl was forced to collect her flowers. She then sat down next to the old lady. The flower girl was so-so, she looked about 18-20 years old, in old, although well-groomed clothes, her teeth were crooked. - Do you know my son? – the lady asked in surprise. - So you are his mother? Let's pay for the flowers. The lady took the money from her daughter Clara. “You don’t need change,” she told the flower girl. - God bless you. - So you know Freddie? - No. I accidentally called him by his name. A man stood next to the ladies and was constantly writing something down. Another elderly man ran under cover. “Buy flowers,” the flower girl began. - I don’t have small money. - And I’ll give you change. The man was forced to buy flowers so that she would leave him alone. Someone noticed that the guy wrote what the flower girl said. The girl was upset and thought that this was not good. She approached the person who bought the flowers from her and told him to talk to the person who was recording. - They will take away my certificate and throw me out onto the street for pestering gentlemen. Help. The recorder reassured her and said that he was writing this for himself, and not for the police. Then people in the crowd began to wonder what he was writing down there. The recorder surprised them. He began to say exactly where each of them was from. Everyone was shocked. The rain subsided and people began to disperse. The lady and her daughter, without waiting for Freddie, went to the bus stop. The recorder, the flower girl and the elderly gentleman who bought the flowers remained under cover. - How do you do this? the gentleman asked the recorder. - Phonetics, my friend. The Science of Pronunciation. This is my profession. I can easily tell where a person is from by the way they speak. - And can you make money from this? - Certainly. I teach people the correct pronunciation. Meanwhile, the flower girl continued to stink quietly. “Just shut up already,” the recorder couldn’t resist. – You should not be allowed to speak English at all. In the language of Shakespeare himself. You talk like a hoarse chicken. With such talk nothing good will happen to you in life. And then he told the gentleman that in three months he could make sure that this girl at the embassy reception would not be distinguished from the duchess. “And I’m studying Indian dialects,” the gentleman suddenly said. - Wow. Then you must know Colonel Pickering. - This is me. Who are you? - Henry Higgins. - Can't be. “I came from India to meet you,” said the colonel. - And I was going to India to meet you. In general, the men found each other. We got ready to leave to sit somewhere and chat. And then the flower girl reminded herself. - Buy flowers. Higgins threw money into her basket and left with the colonel. Much money. Freddie arrived in a taxi. “Your ladies have gone to the bus stop,” said the flower girl and got into the taxi herself. The next day. 11 o'clock. Higgins's rich house. Colonel Pickering is visiting the professor. By the way, Higgins is about 40 years old. The housekeeper entered the room and said that some lady with a very terrible speech had come to see the professor. This was yesterday's flower girl. “Oh, it’s you,” said Higgins. - Get out. - I won't leave. I came to you to study pronunciation. And I'm ready to pay. I want to work as a saleswoman in a flower shop. But they demand that I speak well. My name is Eliza Doolittle. - And how much are you willing to pay? asked Higgins. - Shilling. Not more. “Hmm, yes... But, considering your income, a shilling is even very steep,” Higgins replied. And then Pickering remembered yesterday's conversation. - I'm offering a bet. If you can create a duchess out of this stuffed animal, I will recognize you as a great teacher. And I am ready to pay for her classes. “And this is interesting,” answered the professor. - Moreover, it is hopelessly vulgar. Deal! I'll make her a duchess. In three months, in extreme cases, in six. And the first thing he did was tell the housekeeper to wash Eliza in the bathroom. - Burn her clothes, order new ones. She will live in my house. All six months. When the housekeeper took Eliza to wash, Pickering asked: “Are you a decent man, Henry?” I'm talking about a girl. - No woman can captivate me. If I let her into my life, my calm life will be covered with a copper basin. Don't worry, I won't do anything bad to Eliza. She is not a girl - she is my student. I've already had so many beauties - I've never fallen in love. The housekeeper said that some garbage man came to see Higgins. A certain Alfred Dolittle. - Okay, call this blackmailer. “I came for my daughter,” said Dolittle. “Okay, take it,” Higgins replied. Dolittle did not expect such an answer. He explained how he found out that his daughter was here. Eliza came here by taxi with a boy whom she decided to take with her for a ride. So the boy returned and told where Eliza was. - I brought her things. - You came to pick up your daughter and at the same time brought her things? What you need? asked Higgins. - Money. Five pounds. “In a good way, you should be driven away,” said Higgins. - But I will pay you. - Rest assured that I will use this money wisely. I'll drink it all away. Higgins gave him 10 pounds. Dolittle refused. - 10 pounds will make me unhappy. But 5 is just right. Maybe next time I'll take five more. Already leaving home, Dolittle did not recognize his daughter. She was washed and wearing a beautiful Japanese robe. 3 months have passed. Reception day at Higgins' mother's house. There are no guests yet. Higgins enters. - Henry, why did you come? - asked the mother. – You promised not to come to receptions. Go home. My guests are afraid of you. Higgins said he invited a girl, a flower girl, to the evening. - Flower girl? To my house? On the reception day? Are you out of your mind? - Yes mom. I need you to check it out. At that moment a lady and her daughter entered. The same ones who were hiding from the rain at the very beginning of the play. Then Pickering entered. Then Freddy. Higgins could not remember where he had previously seen this family. Miss Dolittle entered. She was beautiful and well dressed. She immediately impressed everyone. Freddie was wildly delighted. Eliza behaved well, but sometimes words from the old vocabulary slipped through. - My aunt was once killed because of her hat. And dad tried to pump her out with swill. “This is such a new conversational style,” Higgins explained, and then signaled to Eliza to finish, say goodbye and leave. Eliza left. Freddie's sister Clara really liked the new style, and Higgins advised her to use it more often at receptions. When the guests left, he asked his mother if Eliza could be shown in public. - Of course not! What are you doing? She'll give herself away. Pickering told Mrs. Higgins that both he and Eliza lived in Henry's house. - What? Did you get yourself a living doll? - asked the mother. - No. I am creating a completely new person. It's amazing. She's making great progress. We take her to concerts and teach her to play the piano. - Are you both stupid? Have you thought what will happen to the girl next? After your training. She will have the habits of a society lady, but without the money of a society lady. What should she do then? Sell flowers? - Mom, don't worry. We'll find some work for her. Everything will be fine. Another three months passed. Higgins House. Midnight. Higgins, Pickering and Eliza return home. A girl in a luxurious evening dress. They were at a picnic, then at a dinner party, and then at the opera. Everyone is tired. “You won the bet,” Pickering said. – Eliza was at the highest level. - If it weren’t for the bet, I would have stopped all this long ago. I wasn't interested. Thank God it's all over. The men didn’t even pay attention to Eliza when they were saying all this. Of course, she was bombed. She took Higgins' shoes and threw them in his face. - What's wrong with you, Eliza? - Nothing! What will happen to me now? Again as a flower girl? Eliza rushed at Higgins. He stopped her and threw her into a chair. - Know your place! I don't give a damn what happens to you next. Have you been offended? Have you been treated poorly? No. What's the matter then? We got nervous. Happens. Go to bed. Cry, pray. By morning everything will be over. - What should I do next? - Get married. My mom will find someone for you. Or Pickering will give you money (he has a lot of it) and open your own flower shop. Yes, there are plenty of options. You are an attractive girl. - Tell me, are all my dresses mine? What can I take with me so that no one thinks I'm a thief? - Take everything except the diamonds. They are rentals. Higgins was already sick. And Eliza enjoyed the fact that she was able to piss him off. Morning of the next day. Higgins' mother's house. Henry and the Colonel enter. - Mom, Eliza ran away. What should I do without her now? And mom already knew about it, because Eliza was here. Suddenly Eliza's father came. Only now he was not the same scavenger who was seen six months ago. Dolittle has changed. Looked decent. - It's all you, Higgins. My appearance is your work. - You're delusional! I see you for the second time in my life. And then Dolittle explained. Higgins corresponded with an American millionaire and mentioned one interesting specimen, i.e. about Dolittle the Garbage Man. So, that American died and in his will he left a share in his business to Dolittle. Provided that he will lecture 6 times a year at the World League for Moral Reforms. - I didn’t ask to be made a gentleman out of me! I lived for my own pleasure, but now I don’t. Now everyone is coming at me: lawyers, doctors, endless relatives. Everyone wants my money. Well, Mrs. Higgins asked a completely logical question: “But no one forced you to accept the inheritance.” It was your choice. - Yes, I didn’t have the strength to refuse such an offer. Mrs. Higgins told the men that Eliza was at her house. - She came to me in the morning. She says that she even wanted to drown herself after the way you treated her yesterday. After a good evening, you neither congratulated her nor thanked her, but only said how glad you were that it was all over. Mrs. Higgins called Eliza and asked her father to hide for now so that her daughter would not find out ahead of time about his new position. Eliza appeared. “So, Eliza, don’t be a fool, come on, get ready to go home,” Higgins said. The girl did not react to such rudeness. She thanked the colonel for teaching her good manners, because the rude Higgins was not capable of it. - You, Colonel, treated me like a lady. And for Higgins I always remained a flower girl. Thank you. “Without me, in three weeks you’ll end up in a street ditch,” Higgins said. The father appeared, Eliza was shocked. “Now I have money,” he explained to her. - And today I’m getting married. Dolittle invited his daughter and the colonel to the wedding. Mrs. Higgins asked for it herself, but Higgins didn’t even ask—he got ready too. Higgins and Eliza remained in the room. “Come back and I will behave as before,” said Higgins. - I'm used to you. “You are cruel,” Eliza answered him. – You don’t care about anyone. I can do without you. Why should I come back? - For my own pleasure. Do you want me to adopt you or maybe you want to marry Pickering? - Yes, I wouldn’t marry you either. Freddie writes me three letters a day. He loves me so much, poor thing. Henry, I'm a living person, not an empty place. I want attention. Eliza began to cry. - I will marry Freddie. - No. I won't allow my masterpiece to go to such an idiot. You deserve a better man. Eliza said that she could now go work as an assistant to another professor who deals with phonetics. After all, now she knows a lot of tricks. “You don’t dare tell this charlatan my methods of work.” I'll strangle you. - Yes, I can teach classes myself now. I will be polite to my clients. Mrs. Higgins came in and invited the girl to the wedding. Eliza said goodbye to the professor. “I’ll be waiting for you at home in the evening,” said Higgins. “Good luck,” answered Eliza. Friends, this is where the play ends. But! In the afterword, Shaw wrote how he sees the future of the heroes. He did not want a banal ending to the wedding of Higgins and Eliza. He married the girl to Freddie. And the colonel helped the young people open a flower shop with his money. Something like this…
The Stanislavsky Drama Theater is premiering again. Valery Belyakovich reworked the play by the Spanish playwright Jacinto Grau “Señor Pygmalion” into a brilliant tragic farce - “Dolls”.
In my opinion, the result is something like a conglomerate of Asimov with Shakespeare and Neanthus from Cyzicus, a kind of wreath of monologues connected by the expression of talented extras, where, nevertheless, each actor leads his own clear part. And the fact that the audience periodically heard Shakespeare’s monologues from the stage is quite in Belyakovich’s style, just remember “Six Characters in Search of an Author.”
By the way, I really liked Hamlet’s monologue performed by People’s Artist of Russia Vlad Mikhalkov. The tunic and blood-colored cloak suited his interpretation of the character very well.
Well, the plot of the play looks like this. A very peculiar troupe comes to Spain at the beginning of the twentieth century. It consists not of people, but of dolls. The troupe is commanded and owned by its creator named Pygmalion. Local entrepreneurs are amazed by this innovation, and their patron the Duke is both amazed and subdued, so much so that he kidnaps the prima of this troupe, the troupe rushes in pursuit of the kidnapper, and the Duke's wife, entrepreneurs and Pygmalion himself rush in pursuit of the troupe. That is, there is enough dynamics in the play.
I would especially like to note the episode showing the night life of the puppets, the episode is quite bold, but made without vulgarity, which is quite strange for theaters now, because it is in fashion. But here thanks to Valery Belyakovich, who does not accept vulgarity in his work. I was not lazy and read Grau’s version and I must say that Belyakovich’s reworking did the play good: after the new episodes and characters he introduced, the play became much deeper and brighter. At least the audience watched it in one sitting.
As always, the costume designers and artists shined: the costumes of the entrepreneurs, which were made with motifs of medieval Spanish clothing from Velazquez’s paintings, were interpreted very interestingly.
A very interesting solution with decorations: a row of mirrored transformable cabinets added a certain feeling of techno dell’arte.
And Belyakovich’s appearance on stage in the finale was very impressive. A kind of Meyerhold monologue against the backdrop of a pile of bodies of characters killed by the kidnapped Pomponina. Right during the shooting process, Edith Piaf’s song “Browning” was ringing in my ears as déjà vu.
The mountain of dead on stage reminded me of the premiere of Antigone in Paris, where, with a similar ending, a fight broke out in the hall between supporters of classicism and the new tetra. But the Moscow spectators turned out to be more educated and more self-possessed than the French ones. And it was the audience who confirmed the success of the performance with a sold-out hall, and the premiere was already in its third month.
This performance, staged in the South-West, evokes a storm of enthusiasm, emotions and praise from the audience.http://teatr-uz.ru/
Indeed. A well-organized group of men in shorts and boots - this will destabilize the psyche of many people. There are also few objections to homo-erotica (black color, latex or leather, a lot of makeup, cutouts where interesting).
Spectacular, quite stylish, within the framework of cheap public style, a little embarrassing.
And that's nothing. All this does not negate the content. Somewhere deep, somewhere superficial.
Yes, the actors appear to be wearing shorts and generally revealing outfits, but the glimpses of bodies under short T-shirts are accompanied by excellent texts, and they do not forget to pronounce them, and not even to say them, articulate them, with temperament, almost preaching.
The introductory part was terribly interesting to me. All these exchanges of witticisms and classic theatrical monologues are a super warm-up. The actors who play the producers are brilliant and charming. So. warm-up of the living before meeting with the mechanisms and their manager - puppeteer Karabas-Barabas. It looks like Duke Pinocchio is ready to give his shirt off his back in advance. He,
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and touchingly mentions his love for the theater. Besides, these dolls are a real miracle and all that. Beautiful, perfect, better than living actors, because they don’t get tired (during the course of the play this is immediately refuted by the phrase - “oh, you’re tired!..” and thump-thump-thump), they don’t complain, and so on.
Their main desire is freedom, or rather, will (and peace? that will be for sure). Interesting, though. Still interesting.
Vai, vai, bambino,
Vai vedrai, vai;
Vai, vai, piccino,
Vai vedrai, vai,
Vedrai.
Go, go, baby
Go and you will see, go;
Go, go, little one,
Go and you will see, go
You'll see.
Then the Duke acts according to the usual pattern - he chases after the most attractive doll, steals it, not particularly interested in the consent of not only the owner, but also the victim himself. Pimpinona is against it, she needs the company of dolls. But the Duke is apparently in the grip of sleep and passionate love. (to the theatre? yes, of course) He wishes to have sole possession of her, an excellent quality doll. And the question immediately arises - what about maintenance? Before stealing, you should take care to familiarize yourself with the manual and user instructions. But no. Just to steal the best. Oh, the aristocracy is the same everywhere and incorrigible. Mine, and that's it. So why then does the lady with the magical name Aurelia love such a simple man, even a duke? For beauty, probably. Love is a miracle that cannot be explained.
Dove manca la fortuna
Non si va più con il cuore
Ma coi piedi sulla luna,
Oh mio fanciullo
Vedrai, vai vedrai che un sorriso
Nasconde spesso un gran dolore,
Vai vedrai follia dell"uomo.
Madness,
Go and see what's behind the smile
Often there is great pain hidden,
Go and you will see human madness.
If we were the Puppeteer, we should take the Duke to his team. Somehow pupate, and that’s it. Cut off the leather pants at the very edge... and forward to the stage. But the play has its own logic and ending. Simple. Everybody died. Those who seduced the living with all sorts of nonsense. All that was left was a dream, a haze and memories of the future. Completely stunned by what they saw, shuffling with felt boots in the snow, and thinking about something incomprehensible, they left the theater.
Well, wow, performances happen in our city.
Pomponina-ahh, I want to go to the circus! This is madness?