Title / author: " Ionesco Theatre: Maly Theater Director: Yuri Kulinich Different from classical drama, but typical of the Maly Theater, “The Lesson” is a rethinking of Eugene Ionesco’s early play, which laid the foundation for the theater of the absurd. Director Yuri Kulinich's version leans towards a post-apocalyptic-satirical interpretation. But, as is typical for the “theater of paradox”, the viewer receives complete freedom in interpreting what he sees..

The following is the text in the original language My first impression is that I have experienced a modest success and a middling scandal. The failure of another dog will be greater, the scandal of the most significant... After the eighth dog, the sound of my failures will sound louder and louder. If my failures are torn down at the same pace, then they can turn into triumphs.

Jonesco. Notatki and counter-notatki (1962 r.. ) At the hour of the fascist occupation of France, the Romanian-Jewish emigrant Ezhen Jonesko accepted a living as a proofreader for a Marseilles publishing house. As a graduate of the Faculty of Philology of the Bucharest State University, he worked on a self-teacher using the English Assimil method, paying attention to the dialogues of the characters. Faceless Smith and Martini spoke about obvious speeches: the teacher at the school to teach the children, and the horses eat oats. The replicas were correct in form and logic, but every day the language would not use such phrases in everyday life.

The playwright’s unobvious concern for the heroes of the playwrights prompted him to populate his debut plays with such characters. Faceless, with a formally correct, but apparently meaningless vocabulary. In the era of the revival of the deep existentialists of Sartre and Camus, Ionesco’s philological-paradoxical productions were considered schizophasic and doomed to failure. The cardboard characters mocked the public with empty replicas of the universe, who were amazed at the meat cutter of Another World and at the same time wondered at the mystery of the explanation of the recent tragedy..

The name of Ionesco’s first dog is “Spivachka Fox” (1950 r.. ) was released just before the hour of rehearsal, as the washing of one of the actors, having mixed up the replicas. The complete inconsistency of the title and the plot even silenced the author. Alas, the French, five years after the war, were in the " A lot of women from the half-world, from seclusion, and professional sportswomen, during the hour of occupation, mixed with the fascists. After the victory of the allies, the collaborators were naked for shame.

The awakening of most of the peepers who risked their pledge to the small “Theater of Midnighters” did not materialize. The show had no history about the commonwealth (or any other history), nor anything like the nominal soprano singer. Except for the heroes of the Assimilian henchmen of their homeland, the Smiths and Martins, who exchanged remarks among themselves on the script: the teacher at the school is teaching the children, and the horses are eating oats... The theatergoers left the hall, as they only realized what avant-garde. Critics were also in agreement that such innovation would not be very expensive on the left bank of the Senya.

It seems that only Ionesco had a similar reaction. Another song " ) the plot is already clear. To qualify for the doctoral level, the student must study with a teacher in minor disciplines: geography, arithmetic, common philology. Characters perceive the world in the only way available to them - behind the abstract companions that gave birth to them. What in this world is similar to ours: if you take it out, then after 5 go 4, and if you add it, then 6. And what’s more intellectual: all the words in all languages are the same, besides the words “capital” and “Fatherland”... Through the voices of these theatergoers, who gave another chance to Jonesco, they remember about the completion of “Fox Dreamers”, the public in. Vistava was removed from the show after the first season.

Singingly, the story about a friend of Jonesco’s try did not sing to Yuri Kulinich, who arranged the production of “The Lesson” himself as a friend of the capital’s director. (Persha, “Sumniv” by Patrick Shanley is also on the stage of the Maly Theater). Entry into the theater of the absurd is always a bet on the proven looker, which sound is up to the rise, where the artistic form dominates the place. And what is more important is the debate about visibility and visibility for an unprepared public, which still does not hold the key to the vague a priori of a straightforward playwright.

Jonesco’s plots look so bizarre, because his heroes have psychologically-based motivation every day. As the author himself called Vislov’s “theater of the absurd”, critic Martin Eshlin, the characters here are similar to people, just as a checker’s horse is similar to a galloping stallion. We don’t know what kind of skill it will take to get to the doctoral level. Students (Khristia Deilik). And what a sense it is that the Teacher (Sergiy Radchenko) teaches students for forty a day? Why does the Servant (Slava Krasovska) encourage her lord from evildoers for the benefit of marriage But, I repeat, the heroes have no motive, no function: read, read, serve.

Alas, before us are not people, but functions, which is how the theatrical mechanics of “voyeurism” work (about which the artistic director of the Maly Theater, Dmitro Veselsky, often remembers when asking to turn on the phone before the show)? I guess, ideally, theatrical performance is a process of closely monitoring the key episodes between the characters. It is obvious that you are not listening to Rozmova and Shafi, while the Kokhanka proves her innocence before the cuckolded man. (Therefore, filming and whispering at the hour of the show are not praised, otherwise it would ruin the atmosphere of latent voyeurism). Empathy is only possible if one feels the character’s motives are close to the protagonist’s. The experience only comes down to the point in whose minds you might hypothetically end up. What's so great about spying on the characters of the handbook

I didn’t like Jonesco if the robots smacked him with an absurdist label. The playwright called his plays “the theater of paradox”. To continue the Shah's metaphor, the author set the rules for the game and placed the characters in the first position on the board. And then, having warned, how empty phrases - as if they would hardly chain a real person - become for the heroes with irresponsible triggers. Similar to the mechanics of computer games before today, the replicas launched the scripts of the characters, which gave birth to puzzles and paradoxes. So the heroine of “The Lesson” could not master basic arithmetic procedures, so she had to learn the table of multiplying all numbers by all numbers.

The Shah’s figures are not to blame for the fact that they live by their own rules and limit their choice of actions. Explanations of the motivations of the leaders and interpretations of the manifestations of paradoxes can only be obtained from Svidomosti sposterigach. But what is missing is for those who have not yet gone far enough in their theatrical work to be able to match the checker’s figures and the characters of the assistants? Only a few admire the form.

First of all, by expressive play of actors. All respect goes to them. Plasticity, tricks, emotional dialogues. The mutual relations of Sergius Radchenko and Christia Deilik will re-open the sense gaps and truly live in the expanse of paradoxes.. And sometimes give keys to understand what you have learned. The bodies of the actors are pushing that before us, perhaps, androids from not even a living room to the humanity of the future; and the sprague of heroes until now is an archaic program without a practical purpose.

Okrema is an artistic achievement - the transfer of Freudian stress into an independent character. A rich, animalistic flair bursts forth in wrappings at the hour of every “Lesson”. But this mood seems alien to another, even emotionless text. What kind of tension can the heroes of the handbook have That sublimation of this flair into the latex image of the Servant, the strap-on-receiver of Slava Krasovskaya, deprives the show of the Persian Freudian note, and at the same time does not forgive the vulnerabilities of the Teacher - the Disciple to nourish the flesh.

Another must-have – set design by artist Ali Kholbi. Rebuilt walls, stone replacement of furniture and other post-apocalyptic loft style. Everything is presented in austerity, without intricate details, except those with which the characters interact. This is the greatest hint for understanding the Kulina version of the “Lesson”.

As the program appears in the form of the Judgment Day anniversary and the atomic mushrooms in the final videography, we have before us the day in which civilization remains as a ritual without change. The law, morality, and the value of life become a form of fiction, a logical paradox, the release of which not everyone is worthy of..

Post-apocalyptic tensions in the acting and scenography contribute to the nutritional relevance of the production. It’s easy to see that “The Lesson” is a reflection on the current fear of a nuclear threat. Nowadays, the anti-nuclear interpretation is our guide for the observer who first steps onto the Esher gatherings of the theater of the absurd.

The secret to the success of absurdist songs lies in the fact that before Jonesco the looker did not reject such a complete delegation of places. The playwright completely transferred to the public the testimony on the artist’s head: “What does the author want to say " Since 1957, the same flops “Spivachka the Fox” and “The Lesson” will continue (around Mondays) on stage at the Theater on Yusheti until today. And critics began to see in the works of the recent exile a parody of the emptiness of everyday communications, a satire on the soullessness and mechanism of the institution of education, a metaphor about the inescapable truth that humans are nothing more, nothing less.. So and with the sound of reprisals at Jonesco. The playwright himself, on principle, avoided sane plots. All explanations of his creativity are taken into account by the imposed interpreters, so that they will be distorted. Therefore - behind the paradoxical logic of the world of Jonesco - all interpretations, however, are far from the “relevant place” (in this case), and all of them can be considered correct.

For you, theater is a different type of experiment on Svidomosti. You love marvelous creations of mysticism for form, not practicality. You take it for a mystical borg (\? " The “Lesson” at the Maly Theater was created for you. Director Yuriy Kulinich notably embellishes the story-paradox with impressive acting, complete scenography and Freudian motifs in the appearance of a dominatrix with a strap-on.

For the public, which has the right to intelligent theatre, “The Lesson” can be seen as an introduction to the classics of the absurd, to its pershogerel. This is a demonstration of the trick, how juggling with empty phrases creates a story with conflicts and a tragic outcome. But you are unlikely to be a peeper, who gravitates towards insight into the plot, but you will find here psychological and philosophical depths.

For those who have the right, they can be tempted to believe that the new election of the naked king is true, like the sense in the songs of Jonesco.

But, I believe, the old scholars have already learned that the main lesson of the “Lesson” is not the need to find specific, clear evidence there, although neither specificity nor clarity has ever been conveyed. When learning from such situations of Confucius, it is important to look for a black gut in a dark room, especially if there was no one there.