Title / author: " Ibsen Theater: National Academic Theater named after. Lesya Ukrainka Director: Dmitry Bogomazov Theater classics are the usual repertoire for director Dmitry Bogomazov. Therefore, it is not surprising that for the production on the stage of the National Theater. Lesya Ukrainka's choice fell on the late Ibsen. “The Builder Solnes” is a story about intergenerational conflict: both plot and stage, and ideologically. And the shade of madness and mental instability of the characters only makes it more poignant..

The following is the text in the original language Change is coming and soon. The other one will show up and declare: get out of the way! And behind him there will be others with shouts and threats: the way! the road! good luck to us! Youth will soon come here and knock at the door.

Henrik Ibsen Two crowns pierced the entrance to a popular lecture on Norwegian literature by novelist Knut Hamsun. A listener, for the price of one ticket to the theater stalls, could hear for three evenings how the young and bawdy author of a single - albeit a successful novel - would spread the living classics of national literature: Byrnson, Lee, Holland and, obviously,.

Hamsun himself requested the playwright for the final lecture in the capital and gave Ibsen a place in the front row. For three years, the novelist has been convincing the public that Ibsen’s characters are flat (one hero reflects one character trait), and that they are being destroyed by external social constructs, and not by internal psychology.. Blaming the unreasonable aesthetic concerns of youth and deafness to the subtle pains of the soul. The world-famous playwright listened to the lecture to the end and left the hall.

Through the river of Viyshov " Effectively, in the first, typical for the playwright, robots - such as " The characters of the new story from this position are in the wrong gears, perhaps marginalized. Their actions are dictated by spiritual values, and sometimes they appear anti-social and even immoral.

The clash of souls here is so distinct that the building stinks like church buildings, so they call out. The playwright is not in line with his realism, but the spiritual light of the characters here directly interacts with the spiritual world. The nominal hero literally senses the presence of trolls and demons who are constantly trying to help him... Known from Hamsun’s lectures, the public immediately guessed that the living classic had been searching for the recipe for what.

Call Ibsen's heroes similar to those who were sitting in the theater at the productions of his dog. The characters of " The central theme of the new song was the new-fangled and mysterious God-ville. (It would be better to call Ibsen’s work “the forerunner of psychoanalysis”).

Here is a remark that in those hours the idea was unreservedly given that creativity is a gift of charisma, a gift to the beast, and mitets is less than the penzel of the rightful Creator. “Mystery has no value in itself - it is to resemble God and can help us understand better than anything else” (John Calvin). Apparently, if the heavens want to punish someone, then the stench will harm God. This idea dates back to antiquity and is present in the corpus of myths about Hercules and Edipus, known to theatergoers. Creativity and madness were valued on both sides of the coin and were always close to the same.

The pangs of creativity, sick madder and the mischief of youth - three forms of Godville, which Ibsen traces in “Everyday Solness”. Actor's Troupe of the National Academic Drama Theater. Forests of Ukraine allows us to look at this (anti)social phenomenon in detail. Over a century ago, the Norwegian mixed his hopes for the future and the current dead-end states of heroes with emotional cocktails that encourage them to go beyond the bounds of their dreams. Director Dmitro Bogomazov creates his mind so that the actors behave in such a way that they effectively accept these psychotropic drinks.

The title character, Galvard Solnes (Olexandr Kobzar), is credited for Godville’s creativity.. Already in the title of the work, there is a hint of the social role of the protagonist. Solnes vlasnik of the project agency, but he considers himself “everyday”. It is written that he is self-taught, who learned the profession through practice, and not by wiping his pants at his desk. An architect without a diploma is a dying breed, but what else can be done to compete for the amount of meat?.

The downside of his professional and creative achievements is the fact that the price of his success is the price of the misfortune of others. Galvard's assistant has grown old, and has never forgotten the long-awaited night. And now the assistant master's son Ragnar Bronvik (Yuriy Radionov) is guilty of bearing the burden of professional unfulfillment. So Kaia Fosli (Dina Andriychuk), Solnes’s accountant, is trying to find herself between the name Ragnar and Kohanets, the boss.

The rapid start of Solnes’s career was paid for by other people’s suffering. The birthplace of his squad was destroyed, the twin little ones died, and the blame for the age-old garden. Ale Galvard, having created space for projects (and later, an accountant). A series of misfortunes mentally stole Alina’s squad.

Fru Alina Solnes (Natalya Dolya) – the butt of the medical god, as a current psychiatrist diagnosed as a type of schizophrenia. The stages of overcoming the disease are described with scientific accuracy. Early latent phase with situational symptoms, while Alina was in the greenhouse of the birth womb. An attack that, once provoked, will burn and cause the death of children. Long depressive phases, which Frau Solnes dissolves with the help of sanatoriums. If we know Alina, then she already confuses the real world and madder, mistaking wooden dolls for living children.

The imperishability of youth is emphasized by the fireball girl, Freken Gilda Wangel (Olga Grishina). She shared a childhood with Galvard, when at the local festivities she kissed a thirteen-year-old girl and asked the “princesses” to give her the kingdom.. Alina stinks became known in health resorts. The energies of young Gilda rise to push massive, albeit mentally unstable, tectonic plates of other heroes. This is strength, since life has not yet caught up with tidying up, has not yet learned to react to the red proportions and signs of “not safe”. Summer Solness takes Gilda for the spring of the upcoming spiritual day. Galvard's middle-aged soul drifts from the sideliness and coldness of his companions to the fire of youth: from that which gave support, to that which vibrates the ground from under him.

" The period of youth and important maturity - that haircut until which the plot of the story turns out to be. The scene begins with a protest to Galvard to allow the young architect Ragnar to receive his first awakening. And it will end with this, how cunning youth in the image of Gilda takes the “weakly” accomplished lord.

In the spirit of director Pyotr Bogomazov, the conflict frontier between the new and the old literally divides the stage space in full. For people who read this text to the right, it became clear why it was hidden in the left, dark part of the past. On the level of artistic decisions, they use traditional techniques - vintage costumes, wooden dolls-marionettes, antique furniture with burnished fireplaces... Everything is as it would have looked in Ibsen's time.

Apparently, on the right, directly in May, parts are in the space of youth. In Ragnar Brovik's armchair there is a minimalist Scandinavian design, strobe lights flickering and techno music playing.. Those about whom the set designers of the end of the nineteenth century could not die.

The artist contrasts the parts of the stage with a guess about the appeal to the venerable playwright from the young novelist. You may be inclined to think that the director Dmitro Bogomazov confirms that this is a production on the “Cry of Youth”. Just as for the author of " Ale mitsi na y mitzi, so that, like the everyday Galvard, we take the calls “weakly”.

On the other hand, Ibsen’s production is an organic continuation of both the creative repertoire of Dmitry Bogomazov and the tradition of the theater workshop. For the director, it is possible to put one of the enclosed songs in a new arrangement, created by the same author. With this, all the subtle nuances of the framing melody will be understood only by the real stage performers who have passed through the crucible of classical theatrical illumination. Those who have a sense of intergenerational sleep with previous teachers.

From a professional point of view, everything here is on the National River. The director's work with the classics is important. Є a number of artistic techniques to be developed both in traditional styles and in the “new style”. Є reconsidering the game of actors who emotionally reveal the characters. Vistava as mystetska self-tsil is broken up masterno.

And the axis that is taken away from Ibsen’s performance of the peeper? Museum excursion into the psychology and life of Norwegians in the late 19th century. Nibi schoolboy, knowledge of the classics? It is clear that in his lectures Knut Hamsun, after turning to the novelist B'ernson, takes on the role not of a knower of people's souls, but of a "

The problem of the authors, who sob softly " At any point, I need to get to the point where the emotions of the characters are still readable, but I can’t understand the plot’s architectonics. And stories are perceived as a dramatic snapshot of the past, and not as close or similar to you. Todi y pass the book from the police "

What is unsubstantiated is that “Budivnichy Solnes” is conceived as a message about the struggle of the present-day reality of the past. Apart from the stylish background of modern pictures, this production has little in common with current dramas. To look at the creativity of God, as having shown the mercy and wisdom of the gods, already seems like an artistic metaphor, and not an ethical paradigm, as at the hour of Solnes’s first appearance on the stage.

That thing has not changed since these hours. The greatest incentive for a creator is to convey something to his colleagues. Hamsun's critical lectures became a wonderful treat, since Ibsen created the most brilliant, most psychological - in the minds of his predecessors - songs, starting with the "

We will especially distance, truthfully and remember to respect the scandalous character Gilda Vangel. Theater critic Korniy Chukovsky described the buryings of the image, which he called “the creatures of the mind, who went through the divine nightmare of fantasy. Here's what Ibsen himself can sometimes believe. \?

Those followers who followed Ibsen’s life not only from his songs, note that Gilda had two real prototypes. The sixteen-letter playwright began an epistolary, platonic novel with the eighteen-line Emilia Bardach. And in the coming year, at the hour of writing the song, Henrik began to have a non-platonic meeting with the pianist Hildur Andersen, whose playwright was the eldest at the age of forty years, and whom he met when the missus was thirteen. Therefore, if Hamsun told Ibsen that he did not feel the need for youth, the wisest thing for the playwright would be to miss.

I don’t know what kind of skeletons are buried in Dmitr Bogomazov’s wardrobe, so I have to put it in my own head. Perhaps this is a sign to forward directors that those who are familiar with the history of drama will understand. Glyadacheva, who accepts the rules of theatrical tradition and who will crave dozens of interpretations that have already been verified over time, - “The Daily Solnes” will be a masterful work, with spectacular scenery and a special cast.

And the axis of those who focus on the theater of new plots and psychological closeness with the characters may not know what they want. Melodiously, the new work of Dmitr Bogomazov deserves and does not deserve to lie down to the extent to which the gazers are sympathetic to the concept of “theatrical classics” and are ready to the point that the mystical workshop itself will impose on you the relish for the beautiful.