Where are we? Five major post-war plays and their best performances Definition of a play.

Play

Alexander Volodin, 1958

About what: Once in Leningrad on the occasion of a business trip, Ilyin suddenly decides to go into the apartment where, seventeen years ago, leaving for the front, he left his beloved girl, and - lo and behold! - His Tamara still lives in a room above the pharmacy. The woman never married: her student nephew, to whom she replaces the mother, and his eccentric girlfriend - that's her whole family. Wandering through the fear of misunderstanding, insincerity, quarrels and reconciliation, two adults eventually realize that happiness is still possible - "if only there was no war!"

Why you should read: The meeting of Ilyin and Tamara, stretched over five evenings, is not only a story about the late, restless love of the master of the Red Triangle factory and the foreman Zavgar- Garage manager the northern village of Ust-Omul, but the opportunity to bring real, not mythical Soviet people to the stage: smart and conscientious, with broken destinies.

Perhaps the most piercing of Volodin's dramas, this play is filled with sad humor and lofty lyrics. Her characters always keep something under wraps: under speech clichés — “my work is interesting, responsible, you feel people need”- there is a whole layer of hard questions driven deep inside, connected with eternal fear, in which a person is forced to live, as if a prisoner in a huge camp called “motherland”.

Next to the adult characters, young lovers live and breathe: at first, Katya and Slava look “unafraid”, but they instinctively feel the fear that eats the souls of Tamara and Ilyin. Thus, uncertainty about the very possibility of happiness in the country of "victorious socialism" is gradually transmitted to the next generation.

staging

Bolshoi Drama Theater
Directed by Georgy Tovstonogov, 1959

Zinaida Sharko as Tamara and Efim Kopelyan as Ilyin in the play Five Evenings. 1959 Bolshoi Drama Theater named after G. A. Tovstonogov

One can imagine a little the shock that this performance was for the audience, thanks to the radio recording of 1959. The audience here reacts very violently - laughs, worries, calms down. Reviewers wrote about Tovsto-Nogov's production: “Today's time - the end of the 50s - revealed itself with amazing accuracy. Almost all the characters seemed to come onto the stage from the streets of Leningrad. They were dressed exactly as the spectators who looked at them dressed. The characters, riding out from the back of the stage on the partitioned platforms of the sparsely furnished rooms, played right under the noses of the first row. This required the accuracy of intonations, absolute pitch. A special chamber atmosphere was also created by the voice of Tovstonogov himself, who delivered remarks (it is a pity that in the radio performance the text from the author is not read by him).

internal conflict performance was a contradiction between the imposed Soviet stereotypes and natural human nature. Tamara, performed by Zinaida Sharko, seemed to be peeking out from behind the mask of a Soviet social activist before throwing it off and becoming herself. According to the radio recording, it is clear from what inner strength and with an amazing richness of nuances, Charcot played her Tamara - touching, tender, unprotected, sacrificial. Ilyin (played by Efim Kopelyan), who spent 17 years somewhere in the North, was internally much freer from the very beginning, but he did not immediately manage to tell his beloved woman the truth, he pretended to be the chief engineer. In the radio performance in Kopelyan's performance today, one hears a lot of theatricality, almost pathos, but he also has a lot of pauses, silence - then you understand that the most important thing happens to his hero precisely at these moments.

"In Search of Joy"

Play

Viktor Rozov, 1957

About what: The Moscow apartment of Claudia Vasilievna Savina is crowded and crowded: her four grown children live here and there is furniture that Lenochka, the wife of Fedya's eldest son, once a talented young scientist, now a successful careerist "from science," constantly acquires. ". Covered in rags and newspapers in anticipation of an imminent move to new apartment newlyweds, wardrobes, pot-bellied cupboards, couches and chairs become a bone of contention in the family: the mother calls her eldest son a “little tradesman”, and his younger brother, high school student Oleg, cuts "Lenochkin" furniture with a saber of his dead father - a war hero. Attempts to explain only worsen the situation, and as a result, Fedor and his wife leave native home, the remaining children assure Claudia Vasilievna that they have chosen a different life path: "Don't be afraid for us, mom!"

Why you should read: This two-act comedy was at first perceived as a "trifle" by Viktor Rozov: by that time the playwright was already known as the scriptwriter of Mikhail Kalatozov's legendary film The Cranes Are Flying.

Indeed, touching, romantic, irreconcilable to dishonesty, acquisitiveness, the younger children of Claudia Vasilyevna Kolya, Tatyana and Oleg, as well as their friends and loved ones, made up a strong group of “correct Soviet youth”, numerically superior to the circle represented in the play of “acquisitives, careerists and the townspeople." The schematic nature of the confrontation between the world of consumption and the world of ideals was not particularly disguised by the author.

Outstanding was main character- 15-year-old dreamer and poet Oleg Savin: his energy, inner freedom and self-esteem were connected with the hopes of a thaw, with dreams of a new generation of people, sweeping away all types of social slavery (this generation of uncompromising romantics began to be called “pink boys” ).

staging

Central Children's Theater
Directed by Anatoly Efros, 1957

Margarita Kupriyanova as Lenochka and Gennady Pechnikov as Fyodor in the play In Search of Joy. 1957 RAMT

The most famous scene of this play is the one in which Oleg Savin cuts furniture with his father's sword. So it was in the performance of the theater-studio "Sovremennik", released in 1957, and from the film by Anatoly Efros and Georgy Natanson "A Noisy Day" (1961), this is what first of all remained in the memory - maybe because in both productions Oleg played young and impulsive Oleg Tabakov. However, the first performance based on this play was released not at Sovremennik, but at the Central children's theater, and in it famous episode with a saber and dead fish, the jar with which Lenochka threw out the window, was, although important, but still one of many.

The main thing in the performance of Anatoly Efros at the Central Children's Theater was the feeling of polyphony, continuity, fluidity of life. The director insisted on the significance of each voice of this populous story - and immediately led the viewer into a house crammed with furniture, built by the artist Mikhail Kurilko, where precise details pointed to the life of a large friendly family. Not a denunciation of philistinism, but the opposition of the living and the dead, poetry and prose (as critics Vladimir Sappak and Vera Shitova pointed out) - this was the essence of Efros's view. Alive was not only Oleg performed by Konstantin Ustyugov - gentle boy with a high, excited voice, but also the mother of Valentina Sperantova, who decided to serious conversation with his son and the forced harshness that softened the intonation. This Fedor of Gennady Pechnikov himself is very real, despite everything, he loves his pragmatic wife Lenochka very much, and another lover - Gennady Alexei Shmakov, and classmates who came to visit Oleg. All this is perfectly audible in the radio recording of the performance, made in 1957. Listen to how Oleg pronounces the key phrase of the play: "The main thing is that there is a lot in the head and in the soul." No didactics, quiet and enduring, rather for yourself.

"My poor Marat"

Play

Alexey Arbuzov, 1967

About what: Once upon a time there was Lika, she loved Marat, she was loved by him, and Leonidik also loved her; both guys went to war, both returned: Marat - Hero Soviet Union, and Leonidik without a hand, and Lika gave her hand and heart to "poor Leonidik." The second title of the work is “Do not be afraid to be happy”, in 1967 it was named the play of the year by London critics. This melodrama is a story of meetings and separations of three heroes growing up from episode to episode, who were once united by war and blockade in cold and hungry Leningrad, stretched over almost two decades.

Why you should read: Three lives, three fates of war-stung Soviet idealists who are trying to build a life according to the propaganda legend. Of all the "Soviet fairy tales" by Alexei Arbuzov, where the heroes were necessarily rewarded with love for labor exploits, "My poor Marat" is the saddest fairy tale.

The Soviet myth "live for others" is justified for the characters - still teenagers - by the losses and exploits of the war, and Leonidik's remark: "Never betray our winter of forty-second ... right?" - becomes their life credo. However, “days pass”, and life “for others” and a professional career (Marat “builds bridges”) do not bring happiness. Lika manages medicine as an "unliberated head of the department", and Leonidik ennobles morals with collections of poems, published in a circulation of five thousand copies. Sacrifice turns into metaphysical longing. At the end of the play, 35-year-old Marat proclaims a change of milestones: “Hundreds of thousands died so that we would be unusual, obsessed, happy. And we - me, you, Leonidik? .. "

Strangled love here is equal to strangled individuality, and personal values ​​are affirmed throughout the course of the play, which makes it a unique phenomenon in Soviet drama.

staging

Directed by Anatoly Efros, 1965

Olga Yakovleva as Lika and Lev Krugly as Leonidik in My Poor Marat. 1965 Alexander Gladshtein / RIA Novosti

The reviewers called this performance a “stage study”, a “theatrical laboratory”, where the feelings of the characters of the play were studied. “On the stage, it is laboratory clean, precise and concentrated,” wrote critic Irina Uvarova. Artists Nikolai Sosunov and Valentina Lalevich created a backdrop for the performance: three characters looked at the audience seriously and a little sadly from it, looked as if they already knew how everything would end. In 1971, Efros filmed a television version of this production, with the same actors: Olga Yakov-leva - Lika, Alexander Zbruev - Marat and Lev Krugly - Leonidik. The theme of a scrupulous study of characters and feelings was further strengthened here: television made it possible to see the eyes of the actors, gave the effect of a spectator's presence in the close communication of these three.

One could say that Marat, Lika and Leonidik at Efros were obsessed with the idea of ​​getting to the bottom of the truth. Not in a global sense - they wanted to hear and understand each other as accurately as possible. This was especially noticeable in Lika-Yakovleva. The actress seemed to have two game plans: the first - where her heroine looked soft, light, childish, and the second - appeared, as soon as Lika's interlocutor turned away: at that moment, a serious, attentive, studying look of a mature woman glared at him. "Every real life is the Meeting,” wrote philosopher Martin Buber in I and Thou. According to him, the main word in life - "You" - can be said to a person only with his whole being, any other attitude turns him into an object, from "You" into "It". Throughout the performance of Efros, these three spoke to the other "You" with all their being, most of all appreciating each other's unique personality. This was high voltage their relationship, which even today it is impossible not to get carried away and which one cannot but empathize with.

"Duck Hunt"

Play

Alexander Vampilov, 1967

About what: Waking up in a typical Soviet apartment on a heavy hangover morning, the hero receives a mourning wreath as a gift from friends and colleagues. Trying to unravel the meaning of the prank, Viktor Zilov restores the pictures in his memory last month: a housewarming party, his wife leaving, a scandal at work and, finally, yesterday's booze at the Forget-me-not cafe, where he insulted his young mistress, his boss, colleagues and got into a fight with best friend- waiter Dima. Deciding to really settle scores with a disgusted life, the hero calls his acquaintances, inviting them to his own wake, but soon changes his mind and goes with Dima to the village - on a duck hunt, which he has been passionately dreaming about all this time.

Why you should read: Victor Zilov, combining the features of a notorious scoundrel and an infinitely attractive man, may seem to someone the Soviet reincarnation of Lermontov's Pechorin: "a portrait made up of the vices of our entire generation, in their full development." Appeared at the beginning of the era of stagnation, a smart, thoroughbred and eternally drunk ITEA member engineers- engineering and technical worker. with energy worthy of a better application, he consistently rid himself of family, work, love and friendship ties. The final refusal of Zilov from self-destruction had for the Soviet drama symbolic meaning: this hero spawned a galaxy of imitators - extra people: drunkards who were both ashamed and disgusted to join the Soviet society - drunkenness in the drama was perceived as a form of social protest.

The creator of Zilov Alexander Vampilov drowned in Baikal in August 1972 - in his prime creative forces, leaving the world one not too weighty volume of dramaturgy and prose; now a world classic duck hunting”, with difficulty overcoming the censorship ban, broke through to Soviet scene shortly after the death of the author. However, half a century later, when nothing Soviet was left, the play unexpectedly turned into an existential drama of a man, before whom the emptiness of an arranged, mature life opened up, and in a dream of going hunting, to where - “Do you know what kind of silence it is? You're not there, do you understand? Not! You have not yet been born, ”a cry was heard about a forever lost paradise.

staging

Gorky Moscow Art Theater
Directed by Oleg Efremov, 1978

A scene from the play "Duck Hunt" at the Gorky Moscow Art Theater. 1979 Vasily Egorov / TASS

The best play by Alexander Vampilov is still considered unsolved. Vitaly Melnikov's film "Vacation in September" with Oleg Dal in the role of Zilov came closest to her interpretation. The performance, staged at the Moscow Art Theater by Oleg Efremov, has not been preserved - even in fragments. At the same time, he accurately expressed the time - the most hopeless phase of stagnation.

The artist David Borovsky came up with the following image for the performance: over the stage, like a cloud, a huge plastic bag hovered, in which there were felled pine trees. “The motif of the preserved taiga,” Borovsky told critic Rimma Krechetova. And further: “The floor was covered with tarpaulin: in those places they walk in tarpaulin and in rubber. He scattered pine needles over the tarpaulin. You know, like from the New Year tree on the parquet. Or after funeral wreaths…”

Zilov was played by Efremov. He was already fifty - and the longing of his hero was not a midlife crisis, but a summing up. Anatoly Efros admired his game. “Efremov fearlessly plays Zilov to the limit,” he wrote in the book “Continuation of the theatrical story”. - He turns it inside out in front of us with all the giblets. Ruthlessly. Playing in the traditions of the great theater school, he does not just denounce his hero. He plays a person who is generally not bad, still able to understand that he is lost, but already unable to get out.

The one who was deprived of reflection was the waiter Dima, performed by Aleksey Petrenko, another the most important hero performance. A huge man, absolutely calm - with the calmness of a killer, he hung over the rest of the characters like a cloud. Of course, he has not yet killed anyone - except for animals on the hunt, which he shot without a miss, but he could well knock out a person (after looking around to see if anyone sees). Dima, more than Zilov, was the discovery of this performance: a little time will pass, and such people will become the new masters of life.

"Three Girls in Blue"

Play

Lyudmila Petrushevskaya, 1981

About what: Under one leaky roof, three mothers - Ira, Svetlana and Tatiana - while away the rainy summer with their always fighting boys. The disorder of country life forces women to swear day and night on the basis of everyday life. A wealthy boyfriend who has appeared takes Ira to another world, to the sea and the sun, she leaves her sick son in the arms of her weak mother. However, heaven turns into hell, and now the woman is ready to crawl on her knees in front of the airport duty officer in order to return to the child left alone.

Why you should read: The play still amazes contemporaries of Three Girls by how accurately the era of “late stagnation” is recorded in it: the circle of domestic concerns of a Soviet person, his character and type of relationship between people. However, in addition to external photographic accuracy, the inner essence of the so-called scoop is also subtly touched here.

Leading a dialogue with Chekhov's Three Sisters, Petrushevskaya's play initially presents her "girls" as three variations on the theme of Chekhov's Natasha. Like the petty-bourgeois Natasha at Chekhov’s, Ira, Svetlana and Tatyana at Petrushevskaya’s are constantly caring for their children and waging war for the dry rooms of a dilapidated dacha near Moscow. However, children, for the sake of which mothers quarrel, in fact, are not needed by anyone. The play is permeated by the weak voice of the sick son of Ira Pavlik; the boy's world is full fabulous images, in a bizarre form reflecting the realities of a life that frightens him: “And when I was sleeping, the moon flew to me on wings,” - no one hears and understands the child in this play. The “moment of truth” is also connected with her son - when, realizing that she can lose him, Ira turns from a “typical Soviet person” into a person capable of “thinking and suffering”, from Chekhov’s Natasha into Chekhov’s Irina, ready to sacrifice something For others.

staging

Theater named after Lenin Komsomol
Directed by Mark Zakharov, 1985

Tatyana Peltzer and Inna Churikova in the play "Three Girls in Blue". 1986 Mikhail Strokov / TASS

This play was written by Lyudmila Petrushevskaya by order of the chief director of the Lenin Komsomol Theater Mark Zakharov: he needed roles for Tatiana Peltzer and Inna Churikova. Censorship did not miss the performance for four years - the premiere took place only in 1985; On June 5 and 6, 1988, the performance was filmed for television. This record still makes a very strong impression today. Stage designer Oleg Sheintsis blocked the stage with a translucent wall, behind which silhouettes of branches are visible; in the foreground is a table, on it is a bouquet of dried flowers, and in a tin basin, hoisted on a stool, there is an endless washing; squabbles were arranged around, flirted, confessed. Each was ready to get into the life of another, and not just get in, but thoroughly trample there. But this is only superficial participation: in fact, everyone did not care about each other. The old woman Fedorovna (Peltzer) mumbled her own, indifferent to the fact that a sick child lies behind the wall. Instantly inflamed in a fit of hatred for the intellectual Irina and her son Svetlana (actress Lyudmila Porgina): “He reads! Read up!” And Irina herself - Inna Churikova looked at everything with huge eyes and was silent as long as she had the strength.

A recognized master of stage effects, Zakharov built several reference points, adjusted like a ballet. One of them is when Nikolai's summer boyfriend kisses Irina, and out of surprise, she does an almost clown somersault. Churikova almost falls off her chair at that moment, leans on Nikolai's shoulder, immediately bounces off him sharply and, throwing up her knees high, makes her way to the door to see if her son saw the kiss.

Another scene is the tragic culmination of the performance: Irina crawls on her knees behind the airport employees, begging to be put on the plane (the child was left alone in the locked apartment at home), and hoarsely, hoarsely, she doesn’t even scream, but growls: “I may not be in time!” In the book "Stories from my own life» Lyudmila Petrushevskaya recalls how once at a performance at that moment a young spectator jumped up from her chair and began to tear her hair out. It's really scary to watch.

The actor is an Honored Artist of Russia, a laureate of the most prestigious awards, including "The Seagull" for the best comedy role (the play "Mademoiselle Nitush"), the owner of several orders, a parodist, a TV presenter and an incredibly talented person.

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In parallel, Ilyasov tries himself in the cinema. He makes his debut in the serial film "Juna". This was followed by his other works, among them: "Everything is according to the law", The fourth shift, "Coach", "Fighters, Last fight" and other works. In the same year, the actor starred in famous painting military theme "The Last Frontier".

In 2018, his work in the film The Yards was released. In this picture, Askar flawlessly played the image of Tekel.

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Elena Tashaeva not only theater actress. She starred in films and TV series, such as: "Love in the District", "Conspiracy", "Secret City", "House on the Embankment", "From the Life of Captain Chernyaev", "Doctor Tyrsa" and others.

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Alexander Viktorovich graduated from Gorky theater school(under the direction of R.V. Bunatyan), having mastered the profession of an actor in the puppet theater. After graduation, since 1991, he worked in Nizhny Novgorod in their specialty and drama theater playing more serious roles.

play

and (obsolete) play, play, g. (French pice).

dramatic work. Put on a new play. Translation play. In dramatic plays... he knows how to excite noble passions in us. Nekrasov.

small musical composition(music). Nekhludoff heard from behind the doors the sounds of some complicated bravura piece being played on the pianoforte. L. Tolstoy.

small literary work(outdated). 60 pieces! Will it be enough for 1 volume? Pushkin.

Explanatory dictionary of the Russian language. S.I. Ozhegov, N.Yu. Shvedova.

play

Dramatic work for theatrical performance.

A small musical instrumental lyrical or virtuoso composition. I. for button accordion.

New explanatory and derivational dictionary of the Russian language, T. F. Efremova.

play

1. A dramatic work intended for theatrical performance.

   obsolete A small piece of literature (usually poetry).

A completed piece of music (usually small).

Wikipedia

Play

Play- the specific name of the works of drama intended for performance from the stage, as well as for television and radio performances.

The structure of the play includes text actors- dialogues and monologues, - and functional author's remarks: notes containing the designation of the place of action, sometimes - the features of the interior, the appearance of the characters, their behavior, etc. As a rule, the play is preceded by a list of characters, sometimes - indicating their age, professions, titles, family ties, etc.

A separate complete semantic part of the play is called an act or action, which may include smaller components - phenomena, episodes, pictures.

The very concept of a play is purely formal, it does not include any emotional or stylistic meaning. Therefore, in most cases, the play is accompanied by a subtitle that defines its genre - classical, main (comedy, tragedy, drama), or author's, for example: "My poor Marat" by Alexei Arbuzov - "dialogues in three parts"; "Let's wait and see" by George Bernard Shaw is "a pleasant play in four steps»; « kind person from Sichuan" by Bertolt Brecht - "parabolic play", etc. The genre designation of the play not only serves as a "hint" to the director and actors in the stage interpretation of the play, but helps to enter the author's style, the figurative structure of dramaturgy.

AT musical art the term piece is usually used as a specific name for works of instrumental music.

Play (disambiguation)

Play :

• Play- small musical usually instrumental, less often vocal work lyrical or virtuoso character.
• Play
• Play

Examples of the use of the word play in literature.

The next evening, at a subscription performance, a failed play never found crutches to get up.

These are the followers in a fast, rhythmically measured movement. plays where the chord percussion technique comes through.

There was no longer Kommissarzhevskaya in the Alexandrinsky Theater, Sazonov died, from plays Varlamov spoke.

Art Theater how he could not hide this excitement and how it was expressed in detailed stories about the failure of this plays at the Alexandrinsky Theater, and I remember in what a long joyful excitement he was after the triumph and the victory won in Moscow.

Distrustful of St. Petersburg directors, he always sought to take a direct part in the preparation of his plays for a performance on the Alexandrinsky stage.

Boy avoids a direct answer to this question and explains that the allegorically transformed heroes really reflect the features certain people but the heroes plays are not exact copies.

Oxfordians have to assume that plays, which appeared after this time, were created before 1604, but were published later, although the allusions contained in them to the events of 1605-1610 definitely speak against such an assumption.

And he wrote about this, and he played it on the stage of the Altai national theater in those written by him plays.

Heroine plays- Princess Almeria of Valencia - taken prisoner by the king of Grenada, who dreams of marrying her to his son Alfonso.

Imagine, when after the wedding we all lived in the castle of Eshofur, Alphonse set plays own composition, and Rene and I played them.

You are certainly aware that Ananke banned the production of my Immoral Plays?

Banning your play, Ananke thereby violated the Principle of Non-Intervention.

Nathan, who collaborated with Lucien in the same newspaper, offered Florina, through Coralie, a role in his new play, promising to arrange a conditional engagement for the actress, who found herself outside the theater, at Gimnaz.

Solo and ensemble plays The Boccherinis set high technical tasks for the performer and make it possible to reveal the rich expressive and virtuoso possibilities of the instrument.

The play "Where are we?", which premiered not so long ago on the stage of the Moscow Theater of Satire, is new job Rodion Ovchinnikov, where he is both an author and director.

Fantasy or reality?

The staging is unusual in many ways. Its genre is defined as a satirical phantasmagoria, implying chaos, confusion, a heap of bizarre images and visions, so the audience who came to the premiere of the performance were in for a lot of intriguing plot twists and surprises.

Occupied in one of the main roles artistic director theater Alexander Shirvindt. National artist Russia entered the stage for the first time in several years, and in a very unusual way for himself. Other roles went to no less famous artists theatre:

• Fedor Dobronravov;
• Yuri Nifontov;
• Alexander Oleshko.

The play takes place in a madhouse. "Where are we?" - this is the question asked by the main characters of the production, who got here at the same time. Each of them has its own destiny. An elderly clown (Shirvindt), who was once a favorite and idol of the public, today is completely forgotten and vegetated in solitude. Previously, he lived in the house of veterans of the scene, standing on the site of the "psychiatric hospital" and burned down during a fire. The fire destroyed his passport, so he can't go anywhere. In fact, he does not want to do this, and he has nowhere to go.

Another member of this company - famous TV presenter(Oleshko), whose psyche could not stand the realities of our life, an endless stream pouring through all channels.

The third patient (Dobronravov) is a village unique, sage, jack of all trades, harmonist, father of a large family, who ruthlessly drowns his indefatigable energy in vodka.

This trinity and the whole “house”, where both sad and funny coexist, is led by the head physician of the hospital (Nifontov), ​​who himself balances on the fragile border between “normality” and psychosis. Instead of drugs, he distributes only soothing promises to his patients, whose lives are full of adventures.

A performance about our life

It's a paradox, but the further the events develop, the more the audience begins to understand that the main characters are not so mentally ill. Such a diagnosis can be quickly made to the society around us, which is immersed in numerous vices. The play "Where are we?" in the Theater of Satire demonstrates this very accurately. Behind the ornate plot and original stage action lies our reality, which everyone who wants to buy tickets for the performance should think about.