Rus Articles Journal

“LIRAS king“. Why we need Shakespeare today?

the Play of the English playwright William Shakespeare directed by the artistic director of Hermitage theater of the people`s artist of Russia Mikhail Levitin arose in art space of Sergey Barkhin. The premiere of a performance took place on August 22, 2014 on the New scene of the Workshop of Pyotr Fomenko. In a leading role - the people`s artist of Russia Mikhail Filippov.

the Playwright in the tragedy “King Lear“ separated human defects from human virtues with such skill that even to the unsophisticated reader becomes clear at once that is manifestation of meanness, flattery, petty tyranny, cruelty and where kindness, unselfishness, decency and infinite devotion are looked through. “King Lear“ is a gallery of human advantages and defects which were in 1608. Remained same also in 2014 - m. They do not disappear anywhere. No words change their essence even if these words escape from lips of the high-put person. Never time turned the hypocrite into the decent person. And the empty demagogue in the philosopher.

Though time from time to time is silent, becoming “silent“. Over time any silence comes to an end and everything is called by the own words. Therefore work of the English playwright does not lose relevance. In “silent“ time the classics speaks. In today`s “silent“ time relevance of “King Lear“ increases many times. Nobody sets the question “Why to Us Today Shakespeare Is Necessary?“.

Mikhail Levitin, the director of a performance “LIRAS the king“, before a premiere with relief exhaled:

- We managed to put LIRA!

How Shakespeare described the person, already pisano - it is rewritten. And here is how it was put once again on the stage, it is necessary to write. It is interesting. Especially when modern classics - people`s artists of Russia Mikhail Levitin and Mikhail Filippov undertake statement.

LIRAS (Mikhail Filippov) significantly sits on a throne. It is surrounded with movable and immovable attributes of the power. The understanding of the greatness and misunderstanding of why he feels nothing is reflected in a face. Petty tyranny at LIRA some special: it is conscientious, thin and intelligent. It seems and the petty tyrant, but with high self-criticism and... kind sparks. Though you should not write about it, it is better to see.

It is surrounded with suite. Row three daughters. All are ready to please. But the king wants even more flattery. Presently he would be called “the maniac of a gratification“ because it is irrepressible, insatiable. Appetite during food both comes, and leaves. He wishes to hear from daughters as it is loved. The inheritance share depends on words.

Senior Gonerilya (the honored actress of Russia Darya Belousova) carefully mints words of love, hardly constraining rage and irritation. It literally boils for rage. The real daughter of the despot - the father. She “vomits“ words of love, hardly enduring a meeting with the petty tyrant. The average daughter of Regan (the honored actress of Russia Irina Bogdanova) fawns skillfully. From words, for the father it is ready to refuse life. Only hopes that her life is not required. It is overflowed by contempt for the old man weakening mind. Regan makes a declaration of love it is verbose and too waits for the end of this ridiculous ceremonial.

Oldest daughters have no true love. It is known by all. And LIRAS too. But demands words all the same. He is a formalist and the tyrant, according to the primary source. The person LIRA - as though stone. At his legs - the power, devotion, hypocrisy and treachery. He trusts nobody and was tired of the power.

The younger daughter Cordelia does not sing the praises. She only looks visual and rubs a cheek about a rough hand of the father. LIRAS does not hear from it words of love. And it so needs words even if hypocritical! It samodurit up to the end. Did not get used to listen to the heart though it was never silent. In response to silence of the daughter a dead-pan the LIRA is saddened by anger. He damns the younger daughter. The king is helplessly cruel and infinitely lonely. Chokes with anger and very first with it and suffers.

LIRA both you trust, and you do not trust. Shakespeare gave a message on infinite embitternment and petty tyranny of the king, and in Sergey Barkhin`s space LEAR manages recklessnesses and repents of them at the same time. He understands that he is not right. But the arrogance does not allow to stop to own excesses. The king can behave only this way, but not differently. He tests the royal will and falls into madness from own tests.

In a performance, despite “a royal lawlessness“, LIRAS it is human and charming. The younger daughter submissively accepts will of the father, hoping that he will sometime play enough royal excesses. The king, despite the hypocrisy seeded by him, has people loving it is disinterested. The king`s clown masterly plays a trombone (Elias Faingersh - the Gold trombone of Europe, Sweden). It elicits sounds even from the coulisse (moving part of the tool), from a mouthpiece and own lips, imitating a voice of a wind instrument. Elias is also a composer of a performance. It filled culmination scenes with a medieval pomposity, comedy fussiness and philosophical intelligence.

Over Lear many reflected. Lev Tolstoy frankly hated Shakespeare, and the King Lear - especially. He even wrote about it to Chekhov: “You know that I hate Shakespeare. But your plays it is even worse...“

Directors did not fail to quote in a performance the Russian classic in the attitude towards the classic English. In a performance more than once emotionally argue on it the count Kent (the honored artist of Russia Alexey Shulin) and the columns Gloucester (the people`s artist of Russia Alexander Pozharov), trifling with Lev Nikolaevich`s photoprint dressed in the file. In the British kingdom storm storms are frequent. The paper portrait can deteriorate.

Wrapping the photo in the file, in Sergey Barkhin`s space make thrifty use of domestic classics, even ruthlessly criticizing classics foreign. The space of Hermitage theater managed to contain in itself a lot of things. Even respect for nonclassical opinion of classics. The space of theater mnogomerno also reflected the different parties of opinions, views and human manifestations. For example, petty tyranny LIRA. On the one hand, it is silly and inconsistent. And with another - infinitely lonely and loving person is capable of the victims. The anger LIRA in a performance seems so convincing that the viewer understands that the anger is not what it is necessary to be afraid of. It is necessary to be afraid not of loud anger, but reserved servility and silent meanness. But the space of a performance is not infinite. It physically and morally did not allow to contain in itself artful murders and punishments over royal family which is provided in the tragedy of the classic.

The Hermitage theater offered the version, infinitely respecting the classic and duplicating his words in fine translation of Grigory Kruzhkov. Creators of a performance did not remake the tragedy, they retold it in own way. Only having held back where in the original there were bloody massacres, inhuman in the cruelty. But also god with them, with zhestokost, though they and classical. Zhestokostya now inexcusably there is a lot of. They, unfortunately, do not decrease. If prophetical words of classics are realized as a performance “LIRAS the king“, losing the most cruel on the road, then modern history would only benefit from it.

The performance ended, counter to death, magnificent galas - a chord under the Gold trombone of Europe - vital, zhiznesokhranyayushchy and zhiznevospevayushchy. And how still there can live the theater? People excesses cannot be separated. They will unite all the same under prophetical sounds of medieval and modern classics.

The author is William Shakespeare

the Translation from English - Grigory of the Circles

Statement - Mikhail Levitin

the Art director - Sergey Barkhin

the Costume designer - Maria Krivtsova

the Composer - Elias Fayngersh

the Assistant to the director - Alevtina Puzyrnikova, Sergey Chernykh

the Assistant producer - Ekaterina Varchenko

the Artist Sergey Barkhin

Statement Mikhail Levitin

Aktery: Mikhail Filippov, Darya Belousova, Sergey Oleksyak, Alexander Pozharov, Alexey Shulin, Evgeny Frolenkov, Pyotr Kudryashov, Irina Bogdanova, Dmitry Zharov, Alexander Andrievych, Alexander Livanov, Denis Nazarenko, Elias Fayngersh.