Title / author: The Picture of Dorian Gray / Oscar Wilde Theater: Suzir'ya Theater Director: Olekso Gladushevsky Suzir'ya Theater risked staging a novel from the school curriculum as a provocation with beauty. " A performance that does not seek to please the viewer, but does its best to draw him into a moral and aesthetic discussion.

The following is the text in the original language. Turn back your youth - don’t repeat your mercy again.

Oscar Wilde In Milos Forman's beloved film " \! " And then he reads Fitzgerald’s “The Great Gatsby”: it is Father’s sake not to judge others before the judgment that ceaselessly flows by in the past. All two hundred pages.

A similar reading of Wildevsky’s “The Picture of Dorian Gray” is given by director Olekso Gladushevsky. Not for the form, but for the senses. It seems that this show is a gift from the director to himself for his birthday, which will mark the hour of the premiere screenings. The production for the Suzir'ya Theater is marked by Gladushevsky's brilliantly visual style and even more ancient admiration for the aesthetics of the human body. There was a place here for cinematic plots and self-irony.

However, the “gift” does not lie in the beneficial self-presentation, which demonstrates all the refinements of the director’s author’s tricks during an hour of professional play. “Gift”, which is the overtask of the present – \u200b\u200bto work through the discussed, disputable. " The supremacy of colors, exalted actor's images, unprepossessed homoeroticism, uneven, perhaps intrusive symbolism... There is enough of this that you would want to argue about it.

At the front stage, which begins at theater gatherings, the creators advocate the action away from the words of Wilde. " Yomu is allowed to imitate everything" The fragments of the words of the English classic are recited on the bare feet of actors in red boxer shorts, then we are immediately reminded that the baroque style of the Suzir’ya Theater will coincide with the burlesque of the New York queer club “Studio 54”.

The viewer considers the Easter egg in the appearance of boxer cowards to be separate from Wilde’s glance at criticism, but he quickly remembers the pre-show scene for everything. Through its inhumanity. In the future there will be a Saturnalia scene, where the main character will be served like a cordial at an aristocratic reception. Alas, the peeper will be an uninvited guest propping up the wall. And after the evening, I am not allowed to fight in the spying room for a place with a free seating. In those who do not care about the importance of the hairy back, skepticism about the production may appear even in the opening parts.

I’ll remember the scene from Andy Kaufman’s film biography again.. It seems that at the show they watched the radio signals so much that, having confused thousands of their rogues, they rose from the sofas and tapped on the TV receiver. So, the creators of “Dorian” respect that the voyeur will remember the whole evening on equal grounds, but it is important to dispense with the dozens of others who are classics in staging the performances. This is a trigger trigger and does not apply pressure but is comfortable by hand. Vaughn gradually tells about the sacrifice of Mitz for the sake of the creation of beauty; He is promoting this mystical sacrifice to share with the public..

The plot of the story follows the Wild canon. For a more comprehensive history, it’s enough to remember the head of a fantastic incident.. The portrait of the turbotless red Dorian Gray (Glib Gorodnichev) - the work of the talented artist Basil Hallward (Arsen Boychuk) - is old and covered with physiological signs of bohemian supraworldliness, and the lucky Dorian is not. All other details of the novel that were forgotten during the hours of school drill, you will be reminded of these scenes.

Here you can show respect for the mechanics of history. The main initiator of this - in whom Oscar Wilde clearly revealed himself - is the cynic-schemer Lord Henry (Eduard Kamalov). According to the aristocrat, all human honesty - especially intelligence - does not harm the harmony of the face. “Well, whoever wants to think about it, his nose is either chewing, or his forehead is widening, or his face is different.”. And that Lord Henry is good as an experimenter, who - like immorality - can claim the standard beauty of Dorian Gray.

" “I want to find something beautiful,” Edward Norton’s hero says to Mr. Fincher’s “Fight Club,” as he crushes Jared Leto’s angelic guise with his fists.. That same motivation is also true of Lord Henry. Despite all the efforts of his friend-patron, Dorian’s appearance does not change in the hour of his fall. And for this Faustian pleasure, the whole cosmetic effect takes on a magical portrait. And this innocence further inflames Henry and prompts him to go beyond the moral boundary.

Oscar Wilde, having spoken about the world, in whose keen mind, improvised aphorisms-paradoxes made it possible to preserve the lives of others. Gladushevsky carefully chose scenes from the novel in order to highlight the story from this manipulative perspective. Regardless of the text, the only thing that the director does not allow himself is to fake the actors. To this aria of Sybil Vane (Viktoria Matejko) the audience receives well-deserved applause. (Wild to Sybil will be streamed wherever). Vzagali, Gladushevsky distances himself from Wildov’s misogyny. In Gladushevsky’s interpretation, Sybil is less of a character-function, and he feels grief much more strongly than the hero’s sufferings.. Lady Agatha (Nicole Matskool) is presented not only as a collection of tiles, but also as a voice of solemn – if cynical – wisdom.

For the manifestation of human characters, Wilde’s novel is bottomless. Arsen Boychuk (artist Basil) may be able to truthfully show both the torment of creativity and the dark, amorous. Eduard Kamalov (Lord Henry) with a straight back, who never knew physical attractions, was hoarsely choked with paradoxes. Ostap Shalamaga (James, brother of the late Sybil Vane) can show himself as a passionate messenger, and Vsevolod Moroz (Adrian Singelton) can play the role of a sensible detective.

The image of the main character is lost on everyone.. I'll guess which character to lead. In direct sense: as soon as he first appears, de Dorian is served on a platter, like a pasta, until the final scene, where the favorite of the public is put on the smіtnik. However, while present in the skin scene, Glib Gorodnichev’s sky does not fully comprehend what is happening around, and its only broad emotion is exhilaration. On stage it’s like this, I can’t dream of this story, I can’t get over it. The image of a “boy hypnotized by an evil chaklun” does not respect the mechanics of the display, but does not allow Gorodnichev to reveal himself. And at the end of the day she will play to the powerful, silent portrait (Arthur Berezovsky) – both behind the statue and behind the plasticity of the final dance.

The Picture of Dorian Gray has plenty of relief torsos – like most of Gladushevsky’s works.. The director continues to reflect on the aesthetics of the naked human body and convey his wealth of beauty. After its first publication, Wilde’s novel was accused of latent homoeroticism (for the triquet of Dorian – Basil – Henry). The novelist parroted the front line: “Those who are in the beautiful bridka, - people are zipsuti, who, however, did not become thanks to those advantages. Tse vada\! Not bound by Victorian morality, Gladushevsky does not accept that between the heroes there is a feeling of passion that they cannot - under the pressure of marriage - outgrow the centenary.

Before the speech, the “farewell” kiss between Basil and Dorian is not only a coming-out of literary characters, but also a movie quote. How many times the final scene of " It’s not for nothing that this review began with a movie metaphor. To an established cinephile, a lot of details will seem suspiciously familiar. In the aggressive dark colors of the scene, you can read an homage to the Red Room from David Lynch's Twin Peaks. The big dressing gown is too big for Dorian – my guess about the dramas of Bernardo Bertolucci as “The Remaining Emperor” and “Little Buddha”.

It’s easy to get caught up in symbolism and artistic charades here. The production provokes the viewer to constantly wonder: what does the author want to say It is necessary to remember that “those who struggle, open the symbol, renounce”. For some of the voyeurs, the permanent need for detailed analysis may come from superstition; for others, it is necessary. Let me reiterate once again that I want to overcome the enemy more than to please the public. The aggressive scenography of Vitaly Kravets, the light of Oleksandr Polonsky and the sound of Oleksa Nishchuk are steadily pressed, my aesthetics create the feel of a thriller. What provokes an atmosphere of conflict not only between characters, but between viewers and creators. And I strive to implement the supertask of the post: “Superchki from the drive of mystical creation to testify that this solid is new, foldable and durable”.

After reading Fitzgerald by the “unfunny” comedian, only one person left the room satisfied. This fire turned out to be so significant that it went down to Kaufman’s posthumous filmography.

Frequently faceted responses, accentuated trigger themes of a single-state structure, and physical incompetences of staging can not only smear the enemy’s appearance, but also completely seal it. Ale " Golovne for this purpose – sponucate the gazer until the post-sweet discussion (referred to as shock therapy methods). Indeed, having designated the self-destruction of the English classic, “if critics disagree in their thoughts, then the meeting will be deprived of its true identity”.