Title / author: I see you are interested in darkness / And. Pavlyuk Theater: Wild Theater (Kyiv) / National Academic Theater named after. Zankovetskaya (Lvov) Director: Maxim Golenko The stage version of “I see that you are interested in darkness” has already gathered ten full halls at the Moscow Center for Culture and Culture (formerly Oktyabrsky). Director Maxim Golenko created one of the most spectacular and popular performances of this season. Inseparability from the novel is the main disadvantage of the production; the style, entertainment and expression of the actors are undoubtedly a gift to Pavlyuk’s fans.
The following is the text in the original language: Mystery is required to be embraced.
Illarion Pavlyuk It’s obvious that the theatrical version of “I’m waiting for you in the dark” is most popular: why don’t you take expensive tickets for the production of Shin, as you don’t know about Pavlyuk’s pershogerel One-way, no. Not through the threat of not linking the scenes into the plot (which is absolutely amazing). Unfortunately, without knowing the book it is impossible to know even a tenth of the senses that are included in the production. And when you read "
It seems that the high school dance neck significantly limits the target audience of the popular show. That Illarion Pavlyuk is the most read author of Ukraine, whose autograph sessions are collected by thousands of fans. The Ukrainian version of Forbes named Pavlyuk the financially most successful writer of the land of the remaining rocks. It’s also not surprising that the work of the Wild Theater and the Theater im. Zankovetskoy in Kiev collected a dozen MCCM (Zhovtnevikh).
For those who are not familiar with the novel, let me explain its peculiarity. “I’m learning, it’s dark for you” – a detective story in the setting of magical realism. Reading together with an expert psychologist (knowledge - several thousand courses at the police academy) to conduct a search for a serial killer in the mysterious town of Buski Sad (which is not painted from the infernal chairs. Accurately, detail by detail, Pavlyuk creates a literary world and populates it with voluminous characters.. With all the enthusiasm of the writer, the reader finds himself in an Afghan village, in the front-line frost, or in the labyrinth of stone catacombs. Like a good detective, there are enough clues in the text for the reader to unravel the mystery of the Busky Sad dungeon before the next one.. Alas, as it is attached to magical realism, the mysteries of the world of “Dirties” will never be revealed to the reader. What deprives a particularly welcome afterthought from a book.
The novel is the most important means of transmitting information in literature. This level of detail is not available for a theatrical production.. Therefore, the performance of “Drinks” can be performed in two formats. Or as reduction, simplification: cutting up plot lines and characters, changing the depth of ideas and a number of allusions. Or - as they did on church stained glass windows - by presenting history in the appearance of key, landmark scenes. This allows you to tell the pershojerela the mysterious plot and visualize the most important episodes of the book.
Maxim Golenko took a different path: through transference - often, even literally - of reference scenes. The authors try to stretch the spaces between the episodes and give emphasis on Lanczyugian details, which will highlight the thin – almost dotted – plot line. If I hadn’t read the novel, I wouldn’t have dared to write down the whole faceted-stroboscopic presentation of a full-fledged message. And with the familiar plot of “The Pets,” the theatrical version expands the chimerical light of Busk’s Garden, giving fans the opportunity to get to know the characters from a different, stage perspective.. In a remote depressed town, a little girl (Yulia Shapoval) becomes aware of a maniac who is dealing with a familiar nurse.. To spin, the girl is hiding in the dark abandoned catacombs. And the maniac finishes off the helpless victim in the central square, in front of dozens of witnesses.
Expert psychologist Andriy (Grigory Baklanov) is entrusted with identifying the serial killer and the missing girl.. In the past, the mother had called, the next day his vaginal girl hung up, and then, during an uncontrollable attack of anger, the psychologist attacked the drunken. Ale’s senior colleague Valerka (Mikita Slobodenyuk) appreciates that Andriy is the best candidate in the case of a crooked record, since he knows the proverbial “killer profile”. As if Andriy was not convinced, he still ends up in Buski Garden. The people of Buskivka – who allegorically depict these deadly sins – are not at all happy about the appearance of the capital’s guest. Fear that the maniac story is heading towards the investor community.
That this is not the case only in our world, the guide to the sonorous names of Khariton-Charon (Illya Choporov) immediately comes across, from which the novel-perchodzherelo also begins. The entrance to another world is through the sliding gates, very similar to the ones that decorated the parking lot of the Buchenwald concentration camp. The set design by Oleksandr Belozub immediately anticipates that what will be staged at once is not a leisurely detective story, but a violent thriller from the most electrified scenes of the book. The killing of Christina - the funeral of Andriy's mother - the train to the Buski Garden - the third attempt at suicide of Galya and the car accident - the fourth attempt at suicide in the doctor's shop - investigation together with the farmer's - handed measure - to the Garden through Kagarlik in samurai style -. Readers of the novel know that the staging of these scenes is already a challenge for the director.
This loud cry was received by the artistic director of the Lviv National Academic Theater. Zankovetskoy Maxim Golenko, whose directorial style I especially characterize for myself as “Radars for adults”. Bruegelian allegorical characters in lined costumes, technically complex, large-scale scenery, live music, frequent movement of actors around the spectator hall and steady interaction with the public. Everything to consistently bring respect to action. It seems that the director, having devoted a lot of time to his work, presented himself for the young viewer, and this set the tone for the entire subsequent style. In “Darkness” you can still feel the firm hand of Golenkov with the whole set of authentic Tyug’s rods.
Characteristics above all are not in any way an appreciation of a renowned director’s talent, but rather an attempt to capture the flair of Golenko’s productions. First of all, performing performances for children is more difficult, less so for adults, and even if you put in the duties, you need to obey no less than a little, and their fathers, who are always present in the hall. So I can think of a lot of childish performances that impressed me much more deeply, the lower actions of the production, that were directly aimed at the subtle, intellectual audience. In another way, Golenko, melodiously, remembers the inescapable truth that no one feels properly grown up, and it is appropriate to look at it. Moreover, the manic thriller in the clear aesthetics of TYUG looks not like a darkly humorous cartoon, but a stylish mystical gourmand.
Technically, everything is on top here. Oleksandr Bilozub’s spectacular scenery will be remembered forever (it’s good that you can’t get enough of it). The lighting design by Ruslan Berezovoy is correct and the musical design of Maria Yasinskaya is designed to convey the necessary – call for, alarming – emotion. There is a place for doll-puppets and for a musical quartet (Kerivnik – Margarita Gura), who vividly sees covers of “Strily of Cupid” by VV and the popular “Steam Machine”. And the actors perform not only on stage, but vikorize the entire expanse of the hall of the Moscow Center for Contemporary Arts.
The allegorical nature of the characters is characteristic of Golenok, allowing him to create a few grotesque, or even recognizable, heroes. Chantly, everyone had a conversation with the greedy, highly insured robot seller, like the Mayor of Buski Sad, the great head of state services, Pavlo Borisich (Igor Rubashkin). They were trying to give to the lazy skarg, with the eternal hangovers, to the farm worker for the Suboti kshtalt (Mark Drobot). Perhaps, we heard funny doctors like Yevgen Pavlovich (Oleg Korkushko), who spoke about the tenderness of swelling between the stories about the recipe for pancakes. And also, of course, they knew such a poetic beauty, like the nurse Oksi (Elizabeth Tsilik): with an innocent look, a jealous person and unsatisfied with cunning glory.
The need to compress the story allowed several characters to be removed from a single archetype, and several actors to lose several roles.. Thus, Artem Martinishin created all the wives of the book with notoriety: Mister's wife, the grumpy-baidu neighbor Galya, the mother of the first victim. And Oksana Tsimbalist took on the role of the local sex vamps: black nuns and bartenders of the local bar " Maria Demenko, with the tragedy of Ophelia, transforms into Christina, the first victim of a maniac, and into Gala, the unsympathetic mother of a girl who brings life together several times.. And you can’t help but guess the most unsatisfactory encounter: the Velentsky wolf rabbit and the blind blind bartender - from the monster-like Labubu (Olexander Melnyk), a character who would immediately delight the HR team at the nearest corporate event.
The downside of such transformations would be the character couple of Mikita Slobodenyuk. The actor plays both Andriy's friend, the gentle policeman Valera, and the impulsively angry Busk citizen Arsen. These articles are necessary to analyze the psychotype, and in relation to the main character - whose eyes are important and most important to the story - in order to understand either mirrors or continuations of a single image.
An indisputable advantage of robots with actors is the image of the Beast, the killer. I would like, for the most part, there was no secret place in the hall, because the maniac, the creators of the show, as well as the writer, tried in every artistic way to capture this secret, as far as possible. The actor’s interplay with the flower potter in the vikritta scene deserves a lot of splashes.
Doctors who know before the eyes that the climax scenes are important, then the actors give their best without the possibility of falsehood. The acting itself and the technical complexity of Vistavi confused the viewers that they had not read the Pershojerelo, for three years they will be lost from the audience.
As has already been said on the cob, the main vada vistavi is non-autonomy in the novel. Playwright Oleksiy Dorichevsky tried to archive Pavlyuk’s novel in such a way that it would be sane and uninitiated, while preserving authentic book dialogues. Through this literalness we share many of these characters in fragments, with excerpts. And a lot of the motivation of the characters is lost in the posture of the scene. Before the finale, there are wry monologues about the characters we have come to know. And besides, the climactic tweet about the connection of Buskivchan with a charming heat, where the materials of the manic affair are saved, looks too discontented, so as not to say strained.
Those who know the novel will also note the hidden line of “people without appearance”. The transition from drinking with Valera to going to Buskov Sad was again included in the strobe light. Of course, it would have been too much to pull another burning car onto the stage. There is already a convertible on stage. In the book, this detail reinforces the non-human nature of the Vlasniks: the smell of driving around a snow storm in a car without a top and not freezing. The car displayed on the stage is an effective prop that contributes to the plot once again, when Galya falls from the window (and is considered only by those who are familiar with the text). Why would you drive this car instead of burning it, and don’t put a “person without a face” in prison The one who doesn’t know - don’t mark the change, the one who read - understands this stage necessity.
“I’m crying out for you in the dark” by Maxim Golenok – this is a great gift for Pavlyuk’s rogues to relive the same novel. Due to the director's style and the titanic efforts of the production team on stage, a picture of the level of high-budget blockbusters is created. And the deep actor’s images murmur, laugh and cackle onlookers, calling strangers to the book. Unfortunately, adaptability is the weak side of the production. Therefore, the first thing to do is to recognize this significant – without modesty – for the Ukrainian theater, it is better to get to know the novel-pershagerel, which is no less significant for such a character.