On the streets of a small French town, it seems that a rhino appears from nowhere. Runs along a dusty road, presses your favorite cat local housewife. Two local intellectuals have a discussion: there were two rhinos, or one who runs back and forth? It is a African rhino or Asian? Two -horned or one -horned? A skeptical tradesman even refuses to believe in the authenticity of these rhinos, who, however, manifest themselves more aggressively-not only run in circles, but also destroy houses... For some reason, the inhabitants are not particularly interested in where, in fact, the rhino came from in the deaf French province? But the secret is quickly revealed: these rude and aggressive animals turn the townsfolk themselves, and in a new body, in greenish leather armor and with a strong destructive horn they feel very comfortable.
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Thus, you can retell the plot of the world -famous absurdity of the Absurd “Rhino” by several phrases Eugene Ionesko (1909–1994), the French writer of Romanian origin.
There are few readers who at least have not heard about his “rhino” and “bald singer” (“Golomoza Svavachka”). But you can read them only in the electronic “bibliotetz Ukrainian Lіteratur” or on the website “Cheativo” (the first play is translated by Peter Tarashchuk, the second - Vladimir Dibrova) along with other works. Book scholars will still call the 2003 collection “The Drama of the XX Storichchy”, in which there was a place and “Nosoroga”. In 2019, the publishing house “Spirit I LITER” was published by more than 500-page “Antologia Theater” with nine less famous Ionesko plays (all in the translation of Maria Abramova).
But to start acquaintance with the Franco-Romanian absurdist is still with the “rhino” (1960), an antitotalitarian work that reveals the universal essence of any cannibal political formation. It all starts with the philistine conformism, represented as tolerance to the incomprehensible: “I am by no means a supporter of rhinos, no, do not even think about it. [But] Can you know where the end of normality and the beginning of abnormality? You can determine what is normal and what is abnormal? Neither a doctor nor philosophers can solve this problem " So one of the heroes reflects, discussing with a friend the reincarnation of their colleague into an unpaired animal. And can they independently control the process? “... He was against. And yet he became a rhino. Literally said so: we must go for time! These were his last human words! " “This is a large minority, and it is growing. ... and, you know, everyone is already used to. No one is surprised when the herds of rhinos galloply run through the streets. When they run, people step aside, and then go further, do their own, as if nothing happened, ”the heroine states, who herself will not remain a person for long:“ They are a people. And they have fun. They feel good in their skin. It is not clear on them that they are crazy. They are very natural. And they are right "
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With another playwright of Romanian origin - Mikhay Sebastian (1907–1945) - the Ukrainian reader is almost unfamiliar, although one of his work knows for sure. We are talking about the " The film was a great success in the Soviet audience.
About another film adaptation, Romanian-French (1966), with Marina Vladi in the main female role (“Mona, nameless star”), domestic fans of the work recognized the works much later, already in the 2000s in the 2000s. And they agreed that this film is not the best version of the play. And there were also the Romanian television movie of 1983, the Yugoslav film version of the 1969, the Hungarian in 1971, the Finnish and Greek television and the television tests in 1979... Written in 1942, in the midst of the Second World War, a small play, first, two years later, staged on the stage of the Algam and theater in Bucharest, eventually fell on the shower of the European public public public.. And Ukrainian in particular, because the Star is still regularly put on the stage of the National Academic Drama Theater named after Lesya Ukrainka, as well as in regional and amateur Ukrainian theaters.
Completed from the horrors of war, one might say, the escapated plot of the play turned out to be universal. The life of a small provincial town in Romania, where the main entertainment is to look from the platform of the station, like a train rushes past it from the capital with its numerous casinos, and see passengers, the public of the highest class, is unlikely to differ from the same life in any other European country. (The fundamental difference was only with the audience in the USSR, who, during a period of deaf stagnation and such a life (with only the presence of a casino or salesman, who can bring at least a French dress from the capital, at least an antique book on astronomy) seemed fabulous). Probably why the creators of the Kozakovskaya " And suddenly a real star bursts into provincial boredom - a young, luxurious passenger of a quick train, which was planted at the station for stiseless passage. Because the inhabitant of the parallel world sincerely does not understand why they do not want to take expensive chips from the casino, where she recently played, and why this currency will not be in the course of this town do not want. A poor young teacher of astronomy comes to the rescue, who just for crazy money (soon the whole city will buzz from such a trick) bought an old book in which he wants to find confirmation of his theory - he calculated in the sky a new star invisible to the eye.
The fate of the author of the play, like the work itself, was not as easy as its plot. Already because his present name and surname is Joseph Hekhter, and he was a Jew in a country confidently plunged into fascism. Having a good Bucharest and Parisian education, the young man in the 1930s worked fruitfully as an essayist, prose writer, playwright and literary critic. Everything has changed dramatically with the outbreak of war. To his happiness, Romania in the Second World War still did not become frankly Nazi state, so the Jews had a chance in it, albeit bad, but life. There was no chance of publishing, so Gekher-Sebastian works on public robots along with other fellow tribesmen, in particular, it rakes snow at the Bucharest station. There is a literary version that it was there, looking longing at the trains that traveled by his successful fellow citizens, he created the plot of the " But it was impossible to put it under its own name, so one of the actors was issued for the author of the play until the end of the war. Moreover, both the actor and the director seriously risked their lives for such an undertaking. After all, Sebastian had to live surrounded by those whom his comrade Eugene Ionesko would later describe as rhino.
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Yes, they were familiar. Moreover, the enemies called Sebastian " Because both were of Jewish origin (Ionesko was not as obvious as Gehter) and resisted the darkness into which their common friends fell into, in particular, such outstanding Romanian intellectuals as Emil Choran and Mirce Eliad. At first, the Romanian, and then European society learned about these relations in the 1990s, when Mikhai Sebastian’s diaries, written by him in the 1940s began to publish. The author carefully described the process of repainting the environment, once such an aesthetic, educated, bright, brown colors.
Sebastian's diaries reminded society an unpleasant page of Romanian history - a rather active role of the country in the Holocaust. (Obviously, given the general and also not particularly bright history of the stay of part of Ukraine in different Romanian state formations, these diaries should be translated with us. ) " He was in despair, a dedicated, obsessed, incapable of making the idea that he could be prohibited from working in the field of education. A healthy person can go crazy if he suddenly finds out that he has a hand. ... neither the name of Ionesko, nor unconditionally the Romanian father, nor the fact that he was born a Christian, in general, nothing can hide the curse of the presence of Jewish blood in his veins. Other of us have long been accustomed to this cute old prokaz, so much so that we feel humility, and sometimes something like sad, disappointing pride... ”says one of the records of Sebastian. And on June 22, 1942, he writes: “Eugene Ionesko left Romania yesterday. Wonderful event "
Hekhter-Sebastian himself managed to survive until the end of the war and live an incomplete month after it. May 29, 1945, at the age of 38, no longer a street janitor and an underground playwright, and an employee of the press service of the Ministry of Foreign Affairs was already under the wheels of a truck and died. (Of course, in the current literary criticism there were no versions that it was the murder of special services, possibly Soviet, but convincing evidence, and the grounds do not give. ) In the 1960s, with a legalized "
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It must be added that the play “Nameless Star”, which is placed on Ukrainian theater scenes, was transferred to Ukrainian in 2006 due to the grant of the Romania Institute of Culture. The translator became the professor of the educational and scientific institution of philology KNU Sergey Luchkanin. I would like to believe that once a wonderful touching “star” and other plays by Sebastian will see the world and in the form of printed books.
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