Title / author: Forest Song / Lesya Ukrainka Theater: Kiev Academic Puppet Theater Director: Oleg Mosiychuk The Kiev Academic Puppet Theater opened the new season with an unexpected premiere. What is unexpected is not the production of the classic “Forest Song” by Lesya Ukrainka, but the emphasis in the children’s play on “folk gothic”. And the longer you savor the scares and intimate sketches, the more you become convinced that the fairy tale extravaganza directed by Oleg Mosiychuk is designed not only (and not so much) for children.
Below is the text in the original language \! I'm alive! I will live forever! I hold in my heart those who do not die!
Ukrainian Films " A subgenre of horrors, in which evil comes from folk legends, and it is unusual to lead to tragic consequences from the poisonous origins. It’s not paradoxical that the workshop of the creators of the dolls got the job of the Kiev Academic Lyalok Theater. That director-producer Oleg Mosiychuk has carte blanche: Lesya Ukrainka conceived such a motor-like and joyless “Forest Song”.
Already at the entrance to the forest - even before the appearance of the main characters - we are introduced to the " The restless lost ones will guess how their mother deprived them of them in the swamp; a mermaid is added to the body of a non-marching fisherman, and the backplate - for the rest - proposes to drown the miller. People try to bypass the “non-singing” place and, without extreme need, do not get stuck in the mesh of the subtle world.
As is customary in folklore, the story begins with a human everyday life that disrupts the calm of supernatural forces. Uncle Lev (Boris Knizhenko), a healing healer, a specialist in communication with sex workers (" We know that in these places it’s much easier to get along with evil spirits than with crazy people. On the first day in an evil place, the crowberry turns over Lev’s chaven, and after several attempts to extricate the spirit of drowning from the fire, the bloody Mara (Victoria Ogorodnya). Young Lukash meets Mavka (Anastasia Fomenko), and while playing with the forest dryad, the boy may perish in the mire.
The fragments in front of us are a mountain from the doll theater, so we are afraid here - developing pediophobia - with dolls. On the stage, the spirits of the elements appear as majestic idols, covered with runic signs and decorated with votive offerings. Production designer Mykola Danko nіbi knights praying for artifacts from filthy temples; And the interweaving of needles and brushes, which are held together by creaturely veins, already know human blood with relish. You understand that the real volodars of the forest are ancient gods, whose abilities far exceed those of humans. Yet the supernatural power of the primal spirits is surrounded by a territory not yet covered by the human mass. And the local autochthons do not like warm-blooded strangers, and if the opportunity arises, they will choose an unusual guest in life.
In contrast to death, as one might guess, the main plot of the song is love. Witchcraft magic and punitive lycanthropy (reversal on the vulka), crowberries and woodsmen (Olexander Vorona), rivermen (Viktoria Topchiy) and field mermaids (Alina Shulgina), dark creatures and lips. Vin is a cute and gentle guy as you can see; there is a forest nymph, without ever knowing about human life. Since Andersen's mermaid, the daughter of the sea king, did not manage to marry an aristocratic prince, then what are you up to, Mavka, a child of a nameless forest If it weren’t for this unnatural fury, there would be no penetrating trills of a sniffle, no everlasting love vows.
“The Forest Song” shows all stages of love - from the fragrant primrose of love to the rotten currant for the sake of separation. Here there is a situation that feeds the first passion, the fastidiousness of the mother-in-law (Lidiya Shevchenko), and the approachability of the widow-competitor Killina (Liana Khobeliya-Zabrodina). There was a place for the death of Mavka’s friend, the water mermaid, and also for turning the “colossal”, fire sprite of Perelesnik (Igor Ivanov). Two worlds - human and spirit - can never live by the same rules. However, the Kaza Zaborone almost lacks fundamental laws. It seems like the table is stronger, so that everything can be done right away.
With all the diversity of the characters and the importance of the theater masters to deal with them, it is obvious that there is a decision to get actors there, where the character has not only a plot function, but a character. The main love story of Lukash and Mavka is inspired by the organic duet of Artem Metelsky and Anastasia Fomenko. From the reverent scene of getting to know each other to the final disappointment of the grown-up couples, you believe in the emotions of Metelsky and Fomenko. No less striking were the images of love rivals who met Kilin and Perelesnyk. Liana Khobeliya-Zabrodina has the flair of a sexy woman who wants the youthful body of a milf; and gently plays out those cunning tricks that the poem described in detail. And Igor Ivanov appears as a charismatic celebrant, for example, the evidence of the stickiness of such a person will hurt the tender Mavka. The very “pure” actor’s play preserves the subtle psychology of “The Forest Song”.
The only image that stands out from the smoothness of history is Uncle Lev. Actor Boris Knizhenko successfully copes with the role of the Volyn witcher, the threat of forest evil. For the energy and warlike spirit, nothing is sacrificed to the Ravian wheel Geralt, who wants to pump up not fencing, but the wicked witcher’s signs. So all the signs fall under the updated firmament of the WHO, that up to 60 years is still the middle century. The poet Leo wants to swear to rip off the crowberry’s beard, but he falls asleep at the hour of divorce from the age-old second. For one, death in the rest of the story looks natural, but for the other act, it looks unnatural. For the sake of Knizhenko’s verisimilitude, the make-up artists and costume designers are given wrinkles and enhancement – \u200b\u200bon the right is the director’s work.
With the zagalom of the Vistava, the spirit of closeness is imbued with the spirit of approaching to the pershojerela. And along my front legs, it’s still covered up for a child’s eye. The production received an actor from a whole century group - Leya Pereverzeva, who played the son of Killini. Ale, I’m still ahead of the bi about deeds of exchange.
First of all, tse mova vistavi, yaka was blatantly archaic-dialectical even before the hour of writing the work. Aje Ukrainka created a standard Kohann history against the backdrop of exotic folk gothic (what today would be called “folk-gorge”). And so the reader knows, when we hear the century-old classics, we can stumble over all sorts of “huts”, “lost”, “neboraks” and other linguistic “strayings”.. This production is consistent with the plot and visually provides support where there is a risk of the unreasonable Volinsky archolexy.
In a different way, goror to that goror, let’s talk. Atmospheric solutions of artists from the illumination of Evgen Kuhne and Oleksiya Marakulina will last forever. Chthonic dolls Danka's ancient vyklikat goosebumps under the skin of fans of mystical cinema. And the set design of the monastery of “The one who sits by the rock” (Denis Varyanitsya), the queen of residual death – “The quiet, dark waters sleep calmly, like the dead, dark eyes” – seems landscape-painted from a collective, unknown nightmare. If the child is still incredulously confronted with reality, then we can better check with a glance.
Thirdly, through deep intimate scenes one begins to doubt that the Ukrainian woman created “The Forest Song” for a children’s audience. At times, both youthful eroticism and ambiguous non-platonic greetings will appear here (“Let’s go before it gets too bad, otherwise we’ll be afraid twice! " There is only one opportunity to stage a theater that is aimed at young people - in an incredible way following the letter of Lesya Petrivna. That’s why the “mature” episodes – correctly understood here by the widow Killina – were lost from the show with a remarkable artistic accentuation.
It’s clear that the children turned out to be guilty for their fathers, which led the main looker to the hall. I would quickly recommend this interpretation of “The Forest Song” to adults who don’t hesitate to sit in charge of people watching twice as much for them. With pleasure you begin to appreciate the psychological nuances of the connections between the characters, the sweetness of the poetic lyrics and the effort to frighten with authentic songs.
Before us is a classic test of not showing a kazka to little ones, but turning a grown-up kazka in front of the world.
" Vistava balances between gloomy gothic and sentimental lyrics, between a joyless love drama for adults and bright joy with elements of folklore mysticism for little ones. Once again, this richness and mastery of Vikonanny, the premiere is to captivate not only the mischief-makers of Lesya Ukrainka, but also those who love to slash their nerves, which is not common for the Ukrainian scene in the city..