Rus Articles Journal

Performance “Greenhorn“. Whether Catherine II was afraid of Fonvizin?

the Moscow musical theater under the leadership of Gennady Chikhachev presented to the audience D. I. Fonvizin (1744-1792) comedy “Greenhorn“. The premiere of a performance took place on July 26 and 28, 2015.

Whether Catherine II was afraid of Fonvizin? Or all - listened? Many historical foreheads struggled with this question. Today only such questions please - whether “the tsar hears a clever brain“ whether “listens to progressive ideas“, whether “understands that behind each his action there are destinies of millions“. And in other questions of the comedy of Denis Ivanovich Fonvizin are actual, topical and timely because will never be depreciated humanity, good conduct, honor and conscience.

By the way, Catherine II, the governor difficult, but thinking, all - allowed to put “Greenhorn“. The premiere of a performance took place on September 24, 1782 on a scene of Free Russian theater in St. Petersburg. The next morning after a premiere it was ordered to sort theater, and to bury the play in oblivion. The scaffold was sorted, and the play became history and continues a victorious campaign in the 21st century. Because it is written by the cleverest person of the century, filled with truth and is immune to censorship.

Leaving July in musically - theatrical Moscow the premiere took place. The Moscow musical theater under the leadership of Gennady Chikhachev presented to the audience D. I. Fonvizin`s comedy “Greenhorn“. The premiere is dated for two large dates: On April 3 270 years since the birth of the founder of a genre of the household comedy Denis Ivanovich of Fonvizin were executed, and on August 7 Alexander Borisovich Zhurbin will note the 70 - the anniversary. We congratulate the composer and ourselves on the fact that the musician who is extremely occupied and demanded today managed to finish work on a performance to the anniversary. Because it will be very busy with reception of warm congratulations from the family, colleagues, admirers from around the world soon.

The performance is created in an operetta genre - the vaudeville. As envisioned by Gennady Chikhachev it “has to wake up mixed feelings because deep reflections about eternal Russian problems are behind sharp humour and vaudevillian enthusiasm: dependence, disrespect for the personality, despotism, blind love of parents to the child... And about a problem of the power which is not seeing and not hearing those whom it operates“.

Musically - the scenic component of a performance does not raise doubts. As the director managed to place full scenery on the small square, to create dynamics - it is known to one Appolon. Or to Dionysus. About 30 actors performing solo and chorus parts are involved in a performance. If the word “live“ had a superlative degree, then here it would have just right - music in a performance superlive. The symphonic orchestra from 40 people accompanies a performance. Musicians are shown only in the final. The symphonic bow issued on all academic strunno - to wind canons, impresses.

Performance still newborn. It seems that author`s choreographic plasticity of actors sometimes holds down. Milon (Konstantin Skripalev) dressed besides in an Ekaterina`s close uniform looked especially reserved. Milon suffers, becoming in literal sense driven. Obediently expects the fate. Undoubtedly, in process of a performance running in the bright temperament of the actor will come to compliance with scenography and the role will recover. It - in respect of positive criticism.

Mitrofan was such, it was represented what (Vadim Popovichev). His naive, infantile enthusiasm sets to the vaudeville a rhythm, reminding of how infinitely we love the children. Vadim represented the infanta with such keenness that his hero causes sympathy. Especially, when sticks out of a nesting box.

Prostakova (Irina Himina) is obsessed, blind and silly. To it a lot of things would say goodbye, but only not cruelty. It also suffered for it. Convincing, first-class work of the actress.

Catherine II (Anna Alt) is entered into a performance. It is haughty, haughty and far from life of simple people. Anna perfectly was successful an image of the regal person. But even the empress agreed with the assistant Pravdin (Oleg Zimin) that it is necessary to reckon with Derzhavin. The empress in it is red - gold vestments contrasts with penkovo - baggy servants, reminding of eternal Russian hierarchy.

Suits of theater of Chikhachev in each performance deserve special attention. In “Greenhorn“ they are exceptional. The suits created by Elena Bochkova - are symbolical, functional, komediyna. And at the same time are strictly verified with a historical era, national, class, komediyno - vaudevillian traditions. Bravo!

Suits finish images of heroes. Purity and Sofya`s youth (Zhanna Andreyeva) - air organza. Respectability and nobility Staroduma (Stanislav Yakubovsky) - brilliant Jacquard. On the example of this actor`s work you understand how the tranquility and judiciousness is important in life. Delicate, intellectual work of the actor, fine. Valeny felt emphasizes Prostakov (Vladimir Kurgin`s) provincialism. Gold of brocade shows tsaredvorny wisdom of Pravdin. Stegano - vatnikovy style points to simplicity and ignorance of the brother of Prostakova - Skotinina, and the country servants which are carrying out orders of the landowner “in a slipshod way“.

And, of course, intonations. Under a light voice of Sofya it is involuntarily thought that all people are given birth as this girl, pure and kind. Probably, in soul they are such and is. Skotinin is the fussy boor. Ekaterina - is self-confident and cold. Milon - is excited and touching. On viewing of a performance it is understood how many meaning it is possible to convey only intonation. It is possible to take of the person the hint, from one letter, intonatsionno painted. In intonation the success of understanding of the person even without words is put. On intonation it is possible to understand the person speaking unfamiliar language. Words can deceive, and intonation cannot. Actors of theater masterly own emotional expressive reception.

The separate word needs to be told about Eremeevna`s role performed by Natalya Zamniborshch. If in each city there is the relic, then its voice, undoubtedly, is the business card of theater. Strong, filled with a ring of hand bells, and at the same time surprisingly warm and womanly, the voice of the actress decorates performances and allows theater to support a high professional level. Against today`s okolomuzykalny business the theater shows true musical, actor`s, vocal and repertoire culture.

And about “Greenhorn“. Before a premiere Gennady Chikhachev told that the performance prepared extremely long - about three years. Different on that is the reasons, but today it is timely and significant. Though in theater today we come not for morals. God with them, with nravovtiraniye how many it is possible to teach us. We go to theater behind a breath of fresh air. When we receive it in the form of the vaudeville moreover on great Fanvizin`s motives, it becomes especially pleasant both for itself, and for the great people, and for the historical roots. Which we never reproached. History of Russia saw a lot of things and appreciated the fragile world. If only only in it people did not perish. Here what impressions were left easy on a genre and by the classical Russian vaudeville, deep on contents.

And still. Sometimes to decide to visit Chikhachev`s theater difficult. There is a wish, but only about one reason is not gone. You leave performances of theater on the high emotional lift similar for luck. Not personal some, mercantile and momentary, and global, free, clearing. Seldom when in theater now “Bravo“ you shout, and here - you shout. Seldom when you nod in a step to music, and here - you nod. Seldom when the soul is developed from the true sincerity, and here - is developed.

With such elation you leave musical theater always and you carry it several days which is positively loaded. You remember this rise then long and you rejoice that the soul still is able to feel so. The soul is live still, seemingly. And another time, when to Chikhachev you will not gather, you complain that forces will not be enough for high emotional lift because of fatigue or rational economy of sincere forces. Because precisely you know that in theater it is necessary to be spent emotionally.

And when all - you overcome fears and fatigue and you will gather, never you will regret that in Chikhachev`s theater descended. From where - that forces appear, even filling sincere reserves on the future. For emergency, as they say. The soul will be mobilized and slightly rises over everyday life. The loaded soul rejoices, again perceives beautiful and does not cling to troubles. And in gratitude for endured at a performance, she sings very quietly: “Everything will be good. Everything will be about - chen ho - ro - sho“.