Two Remote Moscow TheatresAutor: Pavel Rudnev
Source: LiveJournal by Pavel Rudnev
A solid, good quality and a very honest Russian psychological theatre. A surprisingly non-migrating company – I saw many actors that I remember in the previous Dolgachev’s performances. The very fact that the theatre didn’t lose its company for many years (it means it can perform an intricate ensemble play) is worth admiring. The style of Vyacheslav Dolgachev didn’t change too – a gradually developing disposition that is finished with explosive burst, and then a slow acceleration again. Two intermissions, all is quiet and measured. The director follows the plot thoroughly, showing all its facets – this is, of course, a somewhat illustrative and intentional trick. The director deliberately discards the possible interpretations (a modernization, for example). This is an intended retro style, congenial to this amazing late play of Rozov. Perhaps the meaning of Dolgachev’s performance may be summarized like this: How aged people, who felt the downfall of their hopes, with a colossal act of will let the boy Albert go to the world of freedom and free choice anyway. Our life is not succeeded, let the young ones have a chance at least. It was for the first time that I felt something like an anticipation of the Perestroika. The actors who play the children of the writer Zharkov, play wonderfully. In this performance the warmth of the home is so comfortably build by the stage designer, but it conflicts with the meaning of the play: the home is comfortable and so good, but it is a doll house anyway, an incubator with a constant warm temperature. But an organism that is going to mature needs climate changes.
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