Title / author: Water Carries Galya / Oksana Gritsenko Theatre: Theater on Podol Director: Igor Matiiv The multi-dimensional play “Water Carries Galya” by Oksana Gritsenko received a dynamic embodiment from director Igor Matiiv and production designer Oleg Tatarinov. The acting duet of Ekaterina Rubashkina and Stanislav Krushinsky, without “pain relief,” reveals the gray ethics of war. An airtight thriller from the Theater on Podol, which will require answers to complex moral questions not only from the characters, but also from the viewer..

The following is the text in the original language. The drone will not fly into the same patient twice. The law of medicine during wartime. Gritsenko A Swedish carriage rushes along the roads of the Kherson region. Unstable patient. The importance of the wounded leg after the shelling. There is a great waste of blood and it is not safe to lower the pressure. And the rizik cannot be brought to the regional hospital. The paramedic's only chance to get rid of the boy from Svidomosti - talk, talk, talk... The superpower of the playwright Oksana Gritsenko is that she can work on historical stories from the plots of today. Their dogs not only constantly cry out “that’s about the war”, but also get involved in the resulting conflict.

So the story of the robot Gritsenko about the trial of a powerful collaborator “Testimony of a veal shotgun” is a farc comedy without the presence of the main character. The history of the Crimean children who were lost under the gaze of the occupier power, “I will turn around” - the drama is not always funny. And performances in several theaters of the hit " Every time we understand the story with all its genre features, deep characters, unexpected twists and familiar details.

For the creation of the hermetic thriller " The main character is a real prototype, Kherson paramedic Galina. Therefore, the dialogue between Galya and her patient was important in order to pave the way between today and the recent tragedy of the Kakhovskaya HES.. In the example of the shares, thoughts, sums and hopes of these characters, it is shown how people can radically change in just two days when there is war around them.

Paramedic Galina (Katerina Rubashkina) – reported to the Lord’s home from the Kherson suburb. I felt the raspberries in full scale. Lost in the occupation, survived until the end of the damby. Having lost all her material possessions, she decided to help others. I went to practice "

Injured Svyatoslav (Stanislav Krushinsky) – naval navigator. Bringing light, saving money. With the beginning of a full-scale war, having spent work, family, and life. I'll just need pennies and " Mensch wants to confess for everything, as having been killed under fire.

The valley rivers of Galina and Slava could not help but clash. But it’s unlikely that anyone would check for them, what would happen for such furnishings, in the Swede’s carriage.

Surrounded by space and characters, director Igor Matijev is especially careful to place accents. Its toolkit is a pair of actors and stage space. That’s why Katerina Rubashkina so calmly calms down, begs and threatens, so that the patient can be treated – that room – at Svidomosti. And Stanislav Krushinsky plays the role of a person who is pinned to the wall (shrouded to the load) and who does not want to share the power chambers. That’s why I want to solve the riddle earlier, before voicing the solution in the scene. This creates tension and dynamics in the genre.

The scenography of Oleg Tatarinov plays a great role in the discovery of the closed expanse of the Swedish Empire in Russia across the Kherson steppes.. From the first days you put a burden for the patient on the resors. And the backdrop seems somewhat unreasonable, abstract. And the farther the heroes are from reality, the more unsatisfactory metamorphoses are experienced on the stage.

One of the main principles of theatrical mechanics is to see here and now. Glyadach is a guardian of conflicts that appear before his eyes. That’s why it’s best to tell the characters rather than to create them stage-wise.. Of course, the final theatergoer will take the picture and rate it from “here and now”. That is the fault of the fact that the specific magic of theater does not work. If the audience did not feel the story, but experienced it together with the characters. And the rizik, who does not see the purifying catharsis and does not leave the hall again, will never leave.

The story of Galya is being told in less than three worlds. In the zvichny " In the world of Galina's guesses about the order under the hour of the Kakhovian tradition. But in the metaphysical space - neither the pre-mortem limbo, nor the historical-collective unknown of the Dnieper River - where the heroes go at the hour of climax. Ale tsi vimiri for the structure of adequate staging and scenography of the stage are seamlessly connected, so that the magic of the theater works. The emotions and motives of the characters are read.

While there is a metaphysical affinity with a kind of magical realism, postmodernism will be able to reach higher doses.. Vikoryst is considered only as a way to enhance the special states of heroes. Everything that happens with the heroes can be explained from the point of view of cold realism. The sight of the dead mermaid's hands that touched Galina's chaven at the hour of the death of 2023, until the meeting of Svyatoslav with his grandfather, who died at the hour of the flooding of the Kherson region in 1955. Pevno, the “winged” symbolic finale has more fantasticality, lower than all previous indications of chthony. This obvious realism will forever turn the view to the level of “here and now”. At the Swede who carried the wounded man to the regional hospital.

The main mystery of history also lies between unacceptable realism. Who is Svyatoslav and why is he drunk under shelling A little bit of sera will soften the pill of obvious enlightenment. I know that before it was added to my dictionary there was no abbreviation self-propelled gun (" І tse, obviously, indulgence one hundred percent looking. I don’t know if we would have forgiven us for the “creepy” finale, if the main character had justified our best feelings?

Behind the equal chamber tension, Matijeva’s performance recalls the cinematic mono-thrillers “Break Lives” by Roberto Cortez and “Lock” by Stephen Knight. I would like to know that only two performances similar to the spirit of the show came out on the Kiev stage: “Woman in Black” (Theater on Podol) and “Cosmetics of the Enemy” (Theater Im. Lesya Ukrainka). That “Carrying Water Galyu” plays perfectly because history is reflected in our present day. Ce triler, what a moment to get caught - as if there was no mercy - either with a looker, or with someone you know or relatives. And such a high-voltage voltage of our very Ukrainian bottling - the particular value of the price has been set.

Like the chant “Bring the water to Galya”, the gaze is covered with physical and moral pain, perhaps not giving a chance to leave the hall dry. Ale staging Matijev on the chamber stage Theater on Podol to work without moralizing and revival. But honestly, he focuses only on acting, plot and artistic methods. Therefore, it feels like an expensive special purgatory without “pain relief”. And from this mandrivka, an extra-bold looker - which is very likely to supply the right food - can turn into cleansing, other.