Title / author: Dance Teacher / Lope de Vega Theatre: Password: Theater Director: Alena Kovtun In the repertoire of its first season, the young theater " Director Alena Kovtun relied on the actors and, it seems, gave them complete freedom of expression. And this sincere, transparent reading of the comedy of cloak and sword cannot but evoke empathy.
Those who teach dancing are not artisans - the best gift of the Spaniards!
Lope de Vega The following is the text in the original language The first arrest of Lope de Vega was observed near the theater hall. The young metropolitan playwright was called in a variety of “fictional verses and lampoons” to the colossal khan, actor Elena Osorio and her father, theater entrepreneur Jeronimo Velazquez. Remaining in charge of a large number of Madrid corpses and having himself recruited dogs from the popular de Vega. But endure the way a worthless splinter weaves about the corruption of his daughter and the way Jeronimo puts Elena under the riches, without becoming a noble don. He received all the bonds so that the playwright was publicly condemned, and his poetry was recognized not by literature, but by a slander to his important homeland.
The trial of Velazquez was satisfied, and de Vega was punished by expulsion from Madrid for 8 years. For destroying the fence, the playwright was threatened with death punishment. That poetic-judicial scandal sparked a song on a national scale. De Vega carefully mandrates Spain and invents new creations for the capital’s theatergoers in the genre of “cloak and sword comedies” for the provincial corpses.. For the generation that grew up on the fiction of Dumas and Sabatina, in this name one senses the rise in price and benefits. For de Vega’s followers, “the cloak and the sword” meant democratization and bringing the theater closer to the public.
In contrast to the court dramas and the costumed masquerades featured in the Italians, the actors in the cloak and sword comedies played in the same fancy costumes in which the audience gathered for their scenes. The heroes of the poem were not historical figures or nobles, but the possible middle class. Dramas and conflicts were played out on stage, which the spectators were particularly interested in.
Singingly, through the extrusion and step of the mandri de Vega, the performance of the song “The Dance Teacher” is received from the provincial Tudeli. The humor of the story is that a wealthy nobleman, in order to gain the heart of a noble lordship, is tempted to go down to a social gathering and pretend to be a dance teacher, a successful craftsman. The nuances of the knowledge of possible professionals de Vega know from childhood, and even from the homeland of the elite Kravets. The trial of the noble Velazquez is still on my mind.. The playwright knew very well how daughters - under the pressure of their fathers - are encouraged to pursue financially distant loves with rich names. That’s why both the author and the public wanted the life of these characters to turn out as if it were a dream, and love would be more than love.
Singingly, for the youth, the breadth of “The Dance Teacher”, which is not yet fully mature, has been extended to the repertoire of the first season of the theater “Password: Theater”. I’m not afraid to call this young theater “guild”. In Kiev, the Theater of Playwrights is no longer the first river, as a platform for the stage performance of Lope de Vega’s colleagues. And “Password: Theater” is a platform for professional implementation of certified actors. And this actor-centric Maidan for the premiere season of the film received a lot of spectators, having rejected the sign of the Theater Information Book as “Indulging in Fate 2025”.
In which actor-centrism has both its advantages and disadvantages. Chantly, the main shortcoming of such actor’s freedom is the positive sub’activation of the enemy through excessive empathy. In the chamber hall, eyes in the eyes of a professional actor - tell him, if you understand, that he may be overacting here - it’s impossible not to worry. Therefore, with all the obvious and obvious shortcomings, you left the hall, you come out of the experience of someone else's knowledge as a powerful one. That's why I go to the theater.
As a great playwright, de Vega gives enough space for the realization of the actor’s talents. The expressive Arsen Boychuk (Aldemaro, self-proclaimed “master of dance”) can show both choreography and also cope with long poetic monologues. The graceful Yana Nos and Valeria Arabadzhi (sisters Florela and Felisyana) denied the ability not only to get caught with tendinous feet, but also to tragically shed tears. Alpha names Andriy Shchochka (Tevano, Felisyani’s man) if he loses the choreography side, he will captivate the audience by playing the guitar. The young and plump Dmitro Vinnytskyy plays the role of the frail Don Alberigo, and the handsome Rostislav Fomenko plays the role of the wife-wife Vandalino. Movchas, streamers, but deeply encased in images, Darina Shevchuk and Vladislav Shklyaruk (servants of Lisen and Belardo) create the most comical moments in the scene, like the scene of a fight with knives. (It’s especially surprising that this couple never got around to the finale that the Spanish had prepared for them).
The reverse side of actor-centricity is the totality of streamness. Without a steady director's hand, the actor tries to give himself as much as possible. Sometimes it sounded like an orchestra in which musicians can play the best solo. The most beautiful butt, this is the image of Ricaredo, the cousin of the impostor, who was inspired by Illya Budnik. At de Vega's, Ricaredo appears in boots with spurs, as if he were passing through Tudela (in front of the visiting Aldemaro). On the stage of " І Ricaredo impudently takes away half of the visual respect of the beholder. What is good for the actor Budnik is never good for the production as a whole. And behind the mechanics of Ricaredo’s song there is only another character, the same stick that allows, through conversations with his cousin, to reveal the conflict and experience of Aldemaro. No more. (And write in this review by Ricaredo-Budnyk, omitting the next paragraph).
Similar immodesty can be felt in various artistic decisions. In the intimate space of " One of them is the gap of the bridle, which defines the main scene from the scenery. A useful tip for the “Teacher of Dances”, even de Vega loves to destroy the principle of unity of space and time. But never again the choice of stage for the back scene goes into the distance. So the show begins with the fact that Aldemaro is quiet, but the main stage makes his way to Felisiani’s party, to pass behind the cursed bandage. In front of us in front of us are public festivities with a face-off tournament - which cost Don Alberigo a fortune - at some point we will lose someone. That's why food is deprived, why the main character enters the folk festival as a villain through a back door, and the public is holy in the back?
Before speaking, another original element of this spaciousness is the hatch under the ceiling, the right black door. If we accept the director's interpretation, for which Aldemaro does not have the right to be present at Alberigo's festivities, then this hatch is ideally suited as a symbolic trap for dark inquiries. Through her, the “dance teacher” first gets into Florel’s booth. The front guards climb through the hatch into the garden until the sisters. In addition to further action, they often take advantage of the weak hero, without any obvious plot necessity.. And the hatch begins to guess the button, as they press the actors for the sake of the gazer's dopamine.
A similar situation with other stage symbolism. The capital's theatergoers - who were inspired by the semiotics of Petrosyan, Bogomazov and Urivsky - are already automatically analyzing every stage detail using psychoanalytic methods.. And you have an apple, a lot of apples. The first biblical image was known by a man and a woman. In the distance this symbol between the newly-named Tevano and Felisyana is being prepared to prepare for their first love night. Enlarged apples at the trikutnik Floreli, Aldemaro and Vandalino. A pre-river apple scene between the servants of Lisenoya and Belardo, which you will find one kind of unsatisfied bajan. Ale apple it won't end. Suddenly, the fruits of knowledge fly around the hall and all the characters feast on them indiscriminately. What do you want to sleep with: who are you going to have fun with
In truth, these nuances can pass by the gazer fascinated by the actor’s performance. And the axis of the cardinal change in the finale - for what fun Aldemaro was replaced with his arrest - it’s important not to mention. As a result, the ending does not look entirely organic, and even all the paths trodden by the characters did not lead to the cage, but until tomorrow. I repeat, the theatergoers of de Vega’s hour wanted to see what they wanted on stage, in order to see reality they would feel stronger for status and money.
Many people watching in cold Kiev still want good endings, not in news, but also on stage. The poor nobleman fell in love not with Don Alberigo’s pennies, but with the call of his heart. Therefore, the ending looks like the arrest of the self-proclaimed dance teacher - this is a shame and punishment for the looker. Whoever believed that he wanted at once, in the classic Spanish comedy of the poetic poet, Kohanna will overcome the prose of life. This is what the Kharkov scribes Henry Lion Oldie followed, “there is no need to fill in a character in order to disturb the reader.”.
That, perhaps, such a strict assessment of the changed ending is not only due to its lack of motivation in the plot, but through the predicted empathy of excess. It’s classic, easy to present and doesn’t require supernatural analytics. All conflicts, fears and deaths of the heroes are spoken with their mouths, in the final form. All emotions are transferred directly from the actors to the viewer. Therefore, the final appearance of the heroes is devoid of an unpleasant aftertaste.
Chantly, there was no need to clash between director Alona Kovtun and Lope de Vega. The distinguished Spaniard proudly boasted not only of his practicality (without spending more than 3 days on every drink), but also of his ability to savor the relish of the public. Let me remind you that, without any production, the Madrid recounted – only for their warmth and poetry – de Vega’s “bad verses” about an unfaithful farmer and a dishonest father. Also, the final word in this story could be removed in the Spanish manner.