Classical comedy - an amazing genre. It seems that several centuries ago these plays were written, while the most brilliant of them do not lose relevance and therefore are still in demand.
"The philistine in the nobility" is the most ridiculous, in my opinion, the play of Moliere. The most ridiculous and harmless. And she has a good ending.
Jean-Baptiste Moliere has not yet put in the Odessa Theater of the young spectator. I do not know how it happened, but did not put it. To make this new play appear in the theater's repertoire, director Lyudmila Ismayilova (chief director of the Sterlitamak Russian Drama Theater) and production designer Olga Goryacheva, who worked with Ismayilova not in the same production, were invited to the theater.
Ismayilova quite rightly considered that the play should be somewhat subcritical, removed some of the characters, cut to one footman the previously announced extras on the stage, removed almost all the "tourechina" that created the then-current relevance in the Moliere era, gave a new sound to the characters - as if cleared them from the "dust of times", and made the final - there is no finale in the play, it is written in the note that everyone dances carnival-Turkish dances, and this all ended before. Mr. Jourdain imagined himself superfluous, laughed at him, and the deal with the end. But Lyudmila Ismayilova tried to see in this funny and instructive comedy tragedy. And this she did.
The history of the Paris nouveaux riche, who also wanted a title to money, and, naturally, even without a desired title, one can be "like noblemen", that the bourgeois who has gone mad at the titles of the city burgher does. He gets to himself various fashionable teachers who pretend that they teach him to be a fashionable nobleman - good manners, vocals, dances and even philosophy. He dreams of marrying a single daughter - for a nobleman, of course! And he is in love with the Marquis - in the nobility! Here's the plot of the play.
Lyudmila Ismayilova shifted accents. It's all about love! The nobility is only a way to achieve the goal. I mean, to achieve reciprocity from the Marquise Dorimena. And around this love story, everything is twisting up! And around the fashion - in her most ridiculous and ridiculous understanding - the son of the Turkish sultan becomes the "king of fashion and glamor" according to Ismayilova. Yes, Jourdain is no longer so ridiculous. When I read "The Bourgeois in the Nobility" at the age of 14, I laughed to the point of indecency. I tried to read to the parents who came from work funny pieces from the play and did not understand why they were not funny. And I remembered that day for the rest of my life, when I could not help laughing, finding pseudo-masterpieces in the pseudo-Turkish gibberish, when the teachers explain how and what Jourden should do-I saw it all as if in real life! And I was not at all sorry for Jourdain - he's to blame, he's so stupid ... And I laughed at him so much!.
Well, in general, I'm older. And now I understand that funny scenes are just the top layer, that this comedy is very multilayered and complex. I'm sorry that my favorite "marababa sahem" (like "I love you", like in Turkish) left my "Ismailova" production, "the kakaraka of the muslin" (like "my darling!" For Turkish type). But my beloved "no more than a month" left in the mouth of Cleonte! Thank you!.
This amazing theme of love has appeared - even if a loved one changes and creates nonsense and muck. And this - it's not even funny, but simply - a real tragedy. We all from the audience watch how a husband cheats on his wife, how he is obsessed with this love, how he is ready to "walk on his head" or even on corpses, and becomes scary. And ashamed of him. That's what happened from "the most ridiculous comedy of Moliere". It is considered simple, her students studied the class in the eighth or seventh. And here there are so many complex and powerful things, and it's not easy at all!.
Artist Olga Goryacheva found a laconic decoration solution. French shutters and doors - closed and open - create each time a new space. Stylishly! I really liked these white clean scenery without any fuss and unnecessary details!.
And these pure white scenery in the very first scene, the crazy love of Jourdain conceives his unclean affair - he writes a love letter not to his wife, but to a lady from the upper world, whom he would like to make his mistress. At Odessa Jourdain - a pretty wife, an adult daughter for marriage, her own bakery. And the crisis of middle age, when you want to change everything and achieve more. And all the relatives seem so remote and small!.
Igor Bolkhovitin in the role of Jourdain is ridiculous, but very moderately. The further, the more ridiculous. And his only role is very unsteady, without hard accents - in one direction or another. All other roles in Ismayilova's play become bearers of one striking feature, while Jourdain escapes, it is ambiguous. Here's the costumes I would have made even more ridiculous, because "a type of sports suit" in "stripes" in combination with modest gray pants loses its absurdity, losing in this scene. And "flowers head down" - generally absent, although they are said, pointing directly at the jacket, where these flowers are not present. Make flowers, please, even if they are not in the collection of Louis Vuitton, on the basis of which costumes were conceived. Yes, and it is unclear why the servant Nicole laughs so much when she sees her master in a new coat from a fashionable stylist. She laughs, and we in the hall do not really understand why she laughs so long and laughs and can not stop. That's something there must be ridiculous and funny! Come up, you will succeed!.
Nicole performed by Nadezhda Mashukova is very good, temperamental. Expressive face, plastic body. In Moliere's play, very good!.
In general, the whole "four" of young loving characters is played with inspiration and ease. They are all pleasant to look at! Everything - to the place!.
Olga Sayapina - thin and graceful - plays live and sincerely. Eyes and smile, plastic, temperament - for all you can only praise!.
Cleonte in the performance of the new actor TYuZ Igor Volosovsky - a wonderful acquisition, the theater! - just the way that young and reflexive Cleonte should be! Handsome and beautiful, funny and sincere.
Covel performed by Alexei Kochetov - "brain surgery" for fooling Jourdain - easily passes from one character style to another - easily, with a dazzling smile.
Cross Moliere's dialogues are played by the "Quartet" harmoniously and clearly - musically, I would say. All four - legkonogi and graceful on stage - enjoy the game immensely, and it's very well broadcast to the hall. Thank you! Do not lose, please, this feeling of a holiday on the stage that you bring!.
Jourdain's teachers - accomplices in transforming Jourdain into a "type of nobleman" - are comically funny and recognizable. And Mikhail Ivanov, and Mikhail Malitsky, and Sergei Demchenko - it's all very cool done, and funny in every gesture and word.
Tailor performed by a young Alexander Ilvakhin - "stylist", a young talented predator.
The footman, played by Alexander Chorba, unites the whole play into a single whole - stitches it in a single canvas. The young actor is tactful, relevant, with a sense of ridiculousness.
In the forefront of Ismayilova's production, along with Mr. Jourdain, Count Dorant and the Marquise of Dorimene. Dorant in the performance of Viktor Radu is like a professional TV presenter with a predatory and "type charming" smile. And Jourden blindly believes him. Their duets are played both on notes, and when they are joined also by Mrs. Jourdain - it's very boring to watch.
But now - about Dorimen, the marquis who conquered the heart of Jourdain. Lyudmila Ismayilova completely removed the bluish flair of the heroine, she made her a hero of fashionable parties and glamorous photo sessions. Liana Kareva chides in this role so funny and convincing! She steps like a giant horse on her huge heels, she talks, jokingly pouting and stretching vowels, not forgetting to show pens in a glamorous manicure how seductive she is and where exactly. Her exits and passages on the stage cause unconditional laughter in the hall. And about this Dorimena thinks that she hardly deserves her noble title. And is it worth it to have that title, if the marquis with the title did not become a marquise? She seems to be stupid, but she can be cruel. That's just so much in one role of the "blue heroine" found Liana Kareva and Lyudmila Ismayilova.
But the most sincere and not the most influential character in the course of the performance - Mrs. Jourdain - blossomed and turned into a wise and charming woman in the Odessa performance. Alla Lushina in a hoarse voice immediately sets the tone for her heroine - she is simple, intelligent, straightforward. And very nice even in simple outfits, without glamor ornaments. She looks much more noble than the noblewoman-marquise. And Mrs. Jourdain loves her husband - the very one who betrayed her. And she forgave him everything - unlike the original play - it is in her arms that Mr. Jourdain finds both forgiveness and consolation.
And again I thought about who, after all, is Mr. Jourdain: a fool stuffed or in love with a black grouse? Or is he a fool because he lost his head from the state of being in love? So many questions! There is something to think about. And reread Moliere.
In general, I forgave the performance that I was not funny. Because it's all about love. And if it is - no titles are needed.
Therefore - thanks for the new performance! So fresh, so alive. And for the new actors, who immediately rushed into battle, on the stage stage!.
PY. Sy. : Call once more Ismailova, pliz!.
PY. Sy. Sy. : And why is there a red umbrella on the playbill? What does it mean? For the whole performance, I never saw a red umbrella on stage ....