The diary of the festival "Nauruz" -2017: the third day
The diary of the festival "Nauruz" -2017: the third day
The equator of the festival has been remembered by guests and spectators with a colorful program - theatrical performances from Kazakhstan, Yakutia, Khakassia and Tatarstan.
The third day of the festival opened the play "Richard III" based on the play by W. Shakespeare in production of director Dina Zhumabaeva (Youth Theater "Dariga-ai", Kazakhstan).
Alexander Vislov, deputy editor-in-chief of the magazine "Voprosy Teatra", a lecturer at the Theater Department of GITIS:
"For a long time I have not seen in the performance a self-effacing, analytically costly, so powerful actor's work. This is at the level of the world's best samples. Everyone is fully committed to this role. The spectator today felt himself a contemporary of Shakespeare, was transferred to a cruel, bloody, genuine present. "
Tatyana Dzhurova, theater critic, expert of the award-festival "Golden Mask" (St. Petersburg):
"This sand, water, bodies - they set a special corporeality and measure everything that happens. The naturalness of the environment, the physicality determine degrees of acting. National specificity is present in a fact that these are wild people and quite wild passions. "
Rauza Sultanova, head of the Department of Fine and Decorative and Applied Arts, IALI (Kazan):
"This production made a great impression on me with its artistic quality, musicality, plasticity, compositional structure. In a single space with the viewer, the play influenced by its brutality and magic. Actors so visibly and emotionally conveyed to us experiences, feelings of the impending catastrophe.
At the theater "Ekiyat", the Olonkho Theater (Republic of Sakha (Yakutia)) presented the children's puppet show "Kun Erili" by Olonkhosut Nikolay Stepanov-Nooroy directed by Mariya Markova.
The Khakass Drama and Ethnic Music Theater "Chitigen" played a drama of the Yakut dramatist Platon Oyunsky "Crazy Muklay" on the stage of the Kazan Theater of the Young Spectator. The drama "Crazy Muklai" is a biographical testimony of the events of the Civil War and a "cry" of the soul of a person who has faced unsolvable moral contradictions.
Elena Karas - theater critic (Moscow):
"Like many in Russia, I follow the work of Sergei Potapov. This is a very interesting director. It is curious to see how he thinks about the theater, how it is developing. In a play "Crazy Muklai" through the translation, I hear some philosophical thoughts, a few insane maxims, and I do not understand much. But what do we see? We see an unusual person who, due to his special nature and sensitivity, has found himself between the two worlds. He always talks about red and white. And we see red as a fire, in which the hero burns down. Red becomes a dominant color in the final. Thoughts, which the director expresses in the play, are very interestingly scenically solved. What do we see again? Sergei Potapov does not seem wanting to unfold the whole narrative so that everyone calmly accepts the story. The drama is given by such stop frames - these are four words, four unfinished monologues of the hero. Instead of a narrative, we have four words, broken every time by some kind of blackout, stoppage. And while I'm watching the production, I'm perplexed and surprised. But after I finish, I feel that this is hurting me because of this discreteness, because of these precipices, because the story is not told, but it starts to grow in us with its strange images. I still have many questions for the play: why does Bach's Partita sound, who is this woman next to the hero, did the commissar kill him, etc. But this is the state in which we all are today. In this sense, Sergei Potapov is a very interesting theatrical thinker. "
In the afternoon in the press center, representatives of Kazakh theatrical art told how Chekhov's Cherry Orchard staged by Sergei Potapov shocked their viewers and why the theater's repertoire does not have performances based on plays by contemporary playwrights.
On the Small stage of the theater named after G. Kamal, a solo performance "I am flying (Lechu)" was shown in a one-act play by Zoya Popova. The drama of the State Variety Theater of the Republic of Sakha (Yakutia), performed by Valentina Romanova-Chyskygyray on the Kazan stage was greeted with an enthusiastic ovation.
Oleg Loevsky, theater critic (Ekaterinburg):
"A mono performance is always a person. Here is a grandiose personality of the actress. Valentina Romanova has a beautiful voice and unique energy. First of all, I know her as a fantastic rock-and-roll singer. In the play, it seemed to me, a kind of elegiacism and lyrics in the image keeps the performer like a bird in a cage and does not allow to reveal all the potential! ".
Ekaterina Ryabova, theater critic (Kirov):
"Valetina Romanova speaks at numerous European festivals of contemporary music, and this culture is visibly present in her image. She perfectly feels her ethnically powerful voice by nature. "
Tatiana Tikhonovets, theater critic (Perm):
"I have my own plot of the play, connected with the personality of the actress, her amazing strength and beauty with her voice and those first proposals from which she starts the play. The heroine tries to understand "who is she?", Tries to connect herself, her personality and inner being with the name that was given to her, because she is the name for her. The theme of the play was much deeper than the plot described in the program of the play. Here a lot is laid in a metaphorical direction and set forth in the voice of the singer, fascinating the hall with her inhuman power. "
At the end of the day on the main stage of the theater after G. Kamal a performance was held"Without Sails" based on a play by the classic of the Tatar dramatic art Karim Tinchurin staged by Georgy Tskhvirava in the performance of the actors of the Tatar State Academic Theater named after. G. Kamal.
Andrey Pronin, theater critic (Moscow):
"Impressions from the performance are very bright and positive. I would like to note the acting of two main characters: Iskander Khairullin and Ildus Gabdrakhmanov. On the one hand - it's the role of comedy, on the other - dramatic. In the second act, tragic events are presented, when everything started so well and the merchant's career went uphill, when suddenly this person turns into nothing. I remember the scene where taping Gabdrakhmanov's character sounds like a requiem for the outgoing dream of freedom. "
Tatiana Dzhurova, theater critic (St. Petersburg):
"I did not read the play and can not say what kind of work the text was done by the director of the production. But it is quite clear that the satirical play has taken a dramatic context. The actor's ensemble works remarkably, but for me the main hero Batyrkhan was bearing construction of the play. For me he is in a sense a dramatic Ostap Bender. In it, I see a talented person who could not find himself in a turning-point.
Nadezhda Osipova, theatrist (Yakutsk):
"I remembered the Chinese saying" God forbid you to live in an era of change. " The director in his production focuses on the mentality of the Tatar people. The main idea that I saw in the play can be formulated as follows: people need to stick together and only then can they overcome difficulties. "