No chance of failure. Dostoevsky turned out to be funny Performance Crime and Punishment Baltic House

Journalist Olga Komok, having gone to the Alexandrinsky Theater to see "Crime and Punishment", states that the performance is a real test for the viewer. At least for a while.

at the Alexandrinsky Theater and The festival of the same name hosted, if not the most successful, then certainly the loudest premiere of the year. Artistic Director of the Hungarian national theater Attila Vidnyansky staged Dostoevsky's novel Crime and Punishment as an opera. Yes, not just any, but the most post-Wagnerian: five and a half hours of epic action, verbose heroes are not people, but personifications of all sorts of different ideas and moral and ethical concepts, seething passions do not refer to everyday life, but immediately to eternity ( or in an anthology on the history of literature). And, of course, music: it is she who rules the ball on the stage. drama theater, pushes the action forward, overwhelms the monologues of the characters with sound storms, makes the ubiquitous mimams in prison padded jackets stir.

This Mimans is also sings like an opera choir should. Lively voices create a charming counterpoint to the main phonogram (which is an encyclopedia of 20th-century Austro-German expressionism interspersed with Gregorian chant and the well-known baroque): something from Russian church use, a little square folklore, plus a vocal arrangement of the hit Amy Winehouse- this is a bonus for those who decided to stay for the second part of the "concert" after a 2.5-hour act.

Other bonuses in the second there is almost no act: in the first 2 hours, the public has already been presented with all the know-how of the opera Crime and Punishment. Black and white constructivism suits the score very well. An ominously merry mimams rolls abstract fragments of human (human?) dwellings at every turn of the well-known plot. The reverence for the main Russian novel is shown in the fullest, the artists pronounce the text of the classic in whole pages. Unless, for the sake of speeding up the process, they polyphonically overlap each other: for example, Marmeladov (Sergei Parshin) confesses to drunkenness, and in parallel, mother Raskolnikova (Maria Kuznetsova) reads a letter to her son. At first, the monologues are richly illustrated: Sonya (Anna Blinova, beautiful in artistic restraint) depicts the story of her fall through plastic exercises. The hacked-off old women, and later the deceased Marmeladov, do not leave the stage, just as operatic leitmotifs do not disappear from the score. Raskolnikov's dream of killing a horse generally turns into a violent stage apocalypse, including for the hearing of citizens who are not accustomed to stadium decibel levels.

All parts of the performance are scheduled in strict accordance with the instructions of the composer, that is, the writer. Skinny, obsessed Katerina Ivanovna (Viktoria Vorobyova) is rushing around with children in bunny costumes, Razumikhin (Viktor Shuralev) is a positive hipster in a T-shirt with Gagarin, Luzhin is a caricature of an official, Lebezyatnikov (Ivan Efremov) is an idealist from those who built in 1991 barricades at the White House, Svidrigailov - the brilliantly disgusting, choreographically accurate Dmitry Lysenkov - does not leave his predestined role for a second. Even Raskolnikov himself does not seem to be a living, independent hero - Alexander Polamishev plays the soul, confused to a state of complete uncertainty. And only one actor (or character?) plays Dostoevsky to the fullest: Vitaly Kovalenko turned the investigator Porfiry Petrovich into a kind of clown from a horror movie, a multi-faced snake-tempter with hysterical laughter and the habits of a parodic secular lion. Here it is not the role that controls the artist, but quite the contrary.

In the second act this the snake changes into a Catholic cassock and with devilish pressure whispers to Raskolnikov thoughts that are already soul-saving - about the benefits of faith and repentance. About the same - in the forehead, for a long time, without any tricks - Sonya also broadcasts. After the character's roaring march in honor of all the evil and the dead (with a hilarious giant ax for a banner), the director seems to be losing interest in filling the scene with movement. The walls don't roll, the choir fades into darkness. A series of agonizing solos follows. Each character speaks up to last breath, to the last note - a pure punishment for the viewer, late for the subway. And when Svidrigailov, having confessed enough, climbed the walls and rolled on the floor, finally shoots at the same time as Raskolnikov's sacramental "I killed!"

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Performance - "Crime and Punishment"
Director - Vadim Skvirsky
Theater - Theater-Studio A small drama theater directed by Lev Ehrenburg (St. Petersburg).

At the ninth festival "Your Chance" in Moscow, the performance "Crime and Punishment" based on the novel by F.M. Dostoevsky of the theater-studio Small Drama Theater (NDT) from St. Petersburg was shown. The program for the performance says that the performance was created on the basis of etude material prepared in the process of studying the acting course of L.B. Ehrenburg (graduate of 2011, BIYAMS). Now the performance has already been included in the repertoire of the NDT Studio Theatre. The main roles in the performance are played by former students of the course, some of whom are accepted into the troupe of the NDT Studio Theatre, but two central, key roles are given to the leading (however, in NDT all the leading artists) actors of the NDT Studio Theatre. The role of Raskolnikov Rodion Romanovich is played by Daniil Shigapov, and the role of Porfiry Petrovich is played by Evgeny Karpov.

Anyone familiar with the work of Lev Ehrenburg and his theater knows that the theater has its own individual theatrical style. The style is tough, inquisitive, meticulous, corrosive, realistic, authentic, naturalistic. If you play a role, then do not play, but live. If you fight, then fight honestly, to bruises and blood. If you love, then love truly. The viewer should not doubt the sincerity and honesty. Almost all performances of the NDT Studio Theater are performed using the etude method, i.e. there is no end-to-end continuous action. The action unfolds and gains momentum from one sketch to another. Some people like it, others, on the contrary, this style causes rejection and disappointment. It is better to see the performances of the theater-studio NDT once than to hear about them a hundred times in order to have your own opinion. And there is something to look at in the NDT, believe me.

After watching the play "Crime and Punishment", one gets the feeling that the actor and director of the NDT theater-studio V. Skvirsky has surpassed his teacher. But, alas, the born feeling is deceptive. The thing is that V. Skvirsky put his whole self into his debut work, which is extremely commendable for a debut. I hope that the next performances in his production will be no worse than the debut. The performance turned out to be strong, clear, built, played and logically complete.

Of course, it is clear what the director wanted to say with his performance. It can be seen that the novel "Crime and Punishment" has been re-read and analyzed more than once. There are no passing scenes from the novel. Even the scene of the murder of the old pawnbroker is missing. The viewer will not have a question: Why this scene? The director deliberately selected only those scenes that ultimately stand up in logical chain performance.

The form of the performance is defined as "a lecture for the advancement somehow of all mankind." The lecturer is a woman who knows and deeply understands the work of not only Dostoevsky, but also L. Tolstoy. It is these serious knowledge of hers that help viewers look at the novel from the other side, i.e. get away from the filthy stereotypes of the school curriculum.

The performance, first of all, is not about crime and punishment, but about the freedom of the individual - in its real and original understanding. About getting rid of those ideas and words that prevent you from being yourself - a person. Kill false stereotypes in yourself. Another speculation about the power of life. Raskolnikov went to this deliverance the whole performance, trying to get away from storyline novel. As he says: "as in a book - it will not!". And the release happened, but already at the end of the performance in hard labor. Raskolnikov saves Sonechka from death, seeing a person in her. He acts like a man, saving her by giving her his clothes. Sonechka, falling asleep sweetly, recovers, lying on her side. The culmination of the lecture (performance) is the universal liberation and admiration. All characters without exception.

On the small stage of the theater "Baltic House" Alexander Park, 4

"Crime and Punishment" - a lecture for somehow helping all of humanity based on the novel by F.M. Dostoevsky. The performance was created by the forces of a young studio - graduates L.B. Ehrenburg at BIYAMS (graduate of 2011) led by a teacher, actor and director Vadim Skvirsky.

The duration of the performance is 3 hours and 15 minutes. with one intermission.

"Crime and Punishment" is not quite a performance of the Small Drama Theater, although it has all the hallmarks of its style. This is a performance that was created by the forces of a young studio - graduates of L.B. Ehrenburg at BIYAMS (graduation of 2011) led by a teacher, actor and director Vadim Skvirsky (familiar to viewers for the roles of Solyony in "Three Sisters", Luka in "At the Bottom", Enrique in "To Madrid, to Madrid!", etc. .). In addition to new young actors, the performance also features NDT old-timers Evgeny Karpov and Daniil Shigapov. It is painful, bitter, but at the same time - (as always in NDT) ironic and through the word funny story about the search for guidelines, moral, spiritual, universal; about delusions and illusions; about freedom and love.

“The performance is very intense, and really funny. You watch the actors without stopping, they sensitively react to each other, they exist as a single ensemble, young artists do not look like “students” next to experienced Ehrenburgers. Each acting work should be written separately, I want to analyze each scene, I want to describe, fix, admire the actors and decisions (...). The genre of the performance is designated as "a lecture for the advancement somehow of all mankind." And we can say that, despite the irony, this task is being carried out. The amazing lecture on the impotence of words and ideas, on the power of life, on the "absurd and ridiculous", in my opinion, really convinces, demonstrates his view of Dostoevsky in best traditions theater of Ehrenburg, and “somehow hastening”, helps - if not to all mankind, then to the viewer small stage Baltic house. I would like to sign up for the entire course of lectures. Olga Izyumova, Blog of the Petersburg Theater Magazine

Diplomas and awards: Independent theater award Petersburg "Bronze Lion" in the following categories: Best Performance small form - "Crime and Punishment", Best Actor - Daniil Shigapov (Raskolnikov), Best Supporting Actor - Evgeny Karpov (Porfiry Petrovich), March 2014; IX International Youth Theater Forum “M.art.contact”, Special Prize performance "Crime and Punishment" - "Best youth performance» (Mogilev, Belarus, March 2014); IX International Festival student and postgraduate performances "Your Chance" (Moscow, May 2013). Grand Prix for the performance of Vadim Skvirsky "Crime and Punishment".

Performance for spectators from 16 years.

Keywords: Crime and punishment, 2018, poster Saint Petersburg, Ehrenburg Theatre, Small Drama Theatre, Small Drama Theater SPb, cost, ticket price, order tickets, buy tickets, address, how to get there, box office, contacts, playbill Small Drama Theatre, January, February

"Small Drama Theater" released a premiere based on the novel "Crime and Punishment" by Fyodor Dostoevsky. The production by Vadim Skvirsky is based on sketch material from last year's issue by Lev Ehrenburg, the founder of NDT. It is no wonder that in the performance itself the hand of the master is felt in everything, and the new "Crime" easily enters the repertoire of the Ehrenburg theater-studio.

On the stage there are eternal scaffolding, which perfectly corresponds to the description of summer Petersburg given by the classic: “everywhere there is lime, scaffolding, brick, dust”. The lecturer will be the first to appear against the background of these forests, deprived not only of beauty, but also of average health. Her short right hand, stricken with thalidomide infirmity, convulsively clutches the volume of Dostoevsky, in which she searched for the “blue stocking”, but did not find truth and happiness. And that is why today she has appointed herself the main accuser and debunker of the classic.

- The world is not ruled by love and not by God! she insists stubbornly. - Aesthetics!

And at first, the purpose of the performance-lecture on Dostoevism, indicated on the program, “for somehow advancing the whole of mankind” seems straightforward, even mocking. Revelation descends only towards the end of the performance. No wonder it is said that with laughter human soul manages to break through faster than edification, and the audience at the premiere of Skvirsky constantly laughs. And no wonder: even the toothless suicide bomber Marmeladov (Alexander Belousov), who got drunk in front of the public before the collapse from the second floor of the scaffolding, is ridiculous.

But the main thing is that there are no familiar, and therefore already flat, characters in the performance. literary images over which you can hardly laugh while reading the novel. Thus, the murder of an old pawnbroker is not shown to the public, only a would-be lecturer alone sublimates before falling from an invisible, but witnessed by a bloody stream of an ax blow. And here the understanding begins to come to the viewer that all the global nonsense in the world is done with a serious expression on the face. And the opposition between the abstruse lecturer and the imbecile Lizaveta, also killed by Raskolnikov (both heroines are played by Yulia Grishaeva), presents the viewer who imagines himself an intellectual with a solid slap in the face: stupidity is generally happier than the mind, at least in love.

That is why Raskolnikov's mother (Tatyana Vlasova) is kind and stupid, for the sake of which even Rodion (Kirill Kobzarev), who is unhappily trying to put the idea ("fiction" from the word "think"!) Above life, climbs onto a Viennese chair and recites poetry, as in childhood pulling the pants up to the knees. And absolutely, virginally stupid Sonechka Marmeladova (Anastasia Aseeva), who does not understand a word in Raskolnikov's zaum, but it is these three women who get tons of love and the invisible wings of guardian angels.

Analyzing Dostoevsky “by the mind”, the terrifying lecturer, who lacks positive in life, slipping into emotions and instincts, will cry out: “People are looking for answers in books, and there is one big question! But in order to get an answer, the question must be formulated correctly. NTD succeeded, and the viewer will receive an answer.