F.M. Dostoevsky on the theater stage. Grigory Zaslavsky “Another conversation” based on Dostoevsky Performance based on Dostoevsky

Another premiere is a new performance by Kama Ginkas based on Crime and Punishment. He is walking in the “outbuilding”, on the stage of which 25 years ago the play “We Play a Crime” was performed. “On the Road to...” is not a remake of the old production. The master turned the entire composition upside down, making Svidrigailov the main figure of the gloomy narrative. Igor Gordin got used to the image of the killer-philosopher, main actor Ginkas recent years. The director trusts no one else to play the sick characters of complex characters - foolish, reflective, pathetic and scary at the same time. Strong impression the viewer is guaranteed.

"Theatrical Art Studio"

A serious performance from a serious theatre. The viewer witnesses eight dialogues. Alyosha, Ivan, Grushenka, Katerina Ivanovna, Smerdyakov and the devil from Ivan Fedorovich’s nightmare, the day before the trial of Dmitry, who allegedly killed his father, bare their souls to each other. In their lengthy, intricate conversations about God and permissiveness, the Christian truth about love and forgiveness is born. It is born, as usual, in pain: every dialogue is an example of supernatural youthful reflection. As in the legendary "Boys", everything takes place in a black space. The characters sit for a long time on two wooden benches, reminiscent of a church porch. They are also dressed all in black. This somewhat deliberate visual darkness is justified: nothing here distracts from the complex text and the life and death questions it poses.

November 11 marks the 197th anniversary of the birth of one of greatest writers Fyodor Mikhailovich Dostoevsky, whose works have long become not only literary, but also theatrical classics. Today we will tell you about 5 outstanding performances based on the works of Dostoevsky, which can be seen in Moscow in the near future.

1. Rock opera “Crime and Punishment” at the Moscow Musical Theater
The idea of ​​an extravagant interpretation of Dostoevsky's classic novel, which has become a kind of business card writer, came into the mind of a director, screenwriter, people's artist RSFSR Andrei Konchalovsky. He, together with the poet Yuri Ryashentsev, with the participation of Mark Rozovsky, created not just new edition rock opera “Crime and Punishment,” written 35 years ago by composer Eduard Artemyev, but something completely new and unlike anything else. The musical employs 60 people. The timing of the events is blurred. The production is rich in variety musical styles— you can hear opera, rock opera, as well as notes of urban and folk romance. The scenery was created in London from sketches by production designer Matt Diili. One of the choreographers was the famous American professional in this field, Quinn Wharton. The casting was very large-scale. For example, 1,500 girls applied for the role of Sonya Marmeladova, of which only 5 artists were selected.
When: from October 20 to November 11
Where: Moscow Musical Theater
Price from 500 to 10,000 rubles

2. The play “The Idiot” at the Theater of Nations
WITH light hand directed by Maxim Didenko, nominated three times for “ Golden mask", performance by novel of the same name Dostoevsky's "The Idiot" received a completely new sound and visual embodiment. In the production, only five artists appear on stage: Ingeborga Dapkunaite, Evgeniy Tkachuk, Artem Tulchinsky, Roman Shalyapin and Alexander Yakin. Ingeborg plays the role of Prince Myshkin. The director of the play explained that for him the main thing in this story is the love triangle “Myshkin - Nastasya Filippovna - Rogozhin” and the events twisted into this plot. According to Didenko, “in our world, among other things, two things have been lost: the culture of clownery and the perception of Dostoevsky as a living, ironic person.” That is why it was decided to make a performance in the genre of “black” clownery.
When: November 23
Where: Theater of Nations
Price: from 1,000 to 4,000 rubles

3. The play “The Meek” at the Theater Center “On Strastnoy”
One of latest works Dostoevsky’s story “The Meek One” became the occasion for a one-man show by director Pavel Safonov and actor Evgeny Stychkin. A gloomy story about the transience of life, love wounds and the mental ordeals of the hero is intended to remind viewers of the need for risk, struggle with self-importance and self-sacrifice for the sake of preserving loved ones. A poor young girl without love marries a moneylender, who immediately after the wedding begins to punish his wife with unbearable silence. The story is told from the perspective of a moneylender who does not explain why he is so cruel to his wife. In one of final scenes the hero asks for forgiveness from his wife and swears that he loves only her alone. But this confession does not help him save the girl, and she is thrown out of the window.
When: November 15, 4
Where: Theater Center"On Strastnoye"
Price: from 200 to 1000 rubles

4. The play “Someone else’s wife and husband under the bed” at the Theater. Vakhtangov
On the stage of the First Tetra Studio named after. Vakhtangov director Ekaterina Sonnenstral decided to tell the audience a story about the eternal “Dostoevsky” themes: love, passion and jealousy, which can drive a person to madness. There is no scenery in the play - after all, nothing should distract the audience from the actors’ performance. According to the director, in his early work Dostoevsky sneered at the popularity of vaudeville in those days. The story “Someone else’s wife and husband under the bed”, compiled by the author from two works “Someone else’s wife” and “ Jealous husband", written in easy language, inherent in Dostoevsky in early period his creativity.
When: November 9
Where: First studio of the Theater named after. Vakhtangov
Price: from 800 to 1,000 rubles

5. The play “Brother Alyosha” at the New Moscow Drama Theater
The play “Brother Alyosha” by the famous playwright Viktor Rozov was written based on Dostoevsky’s novel “The Brothers Karamazov”. For the stage version of this story, Rozov singled out only one hero - the youngest of the Karamazov brothers, who is trying to find a way out of the impasse in which relations between people have reached. Rozov clearly paints a picture in which he shows that brother Alyosha does not give up and believes that through all the trials one can only go through “hand in hand.” The director of the play was Tatyana Rozova.
When: November 6
Where: New Moscow Theatre of Drama
Price: 500 rubles

This weekend, the Comedian's Shelter Theater presents the premiere of a production based on Fyodor Dostoevsky's novel "Brothers." In the city described in detail by Dostoevsky, theaters have always treated this writer’s prose with painful tenderness. "Paper" chose ten productions based on Dostoevsky’s texts, in which people suffer, are humiliated and cannot endure life any longer.

Photo from the performance of the Boris Eifman Ballet Theater “Beyond Sin”

"Brothers" , "Comedian's Shelter"

The upcoming premiere based on Dostoevsky is the production of “Brothers” by the young director Evgenia Safonova, based on the novel “The Brothers Karamazov”. The genre of the production is characterized as “psychedelic collage”. There is no talk of following the novel: based on their own reflections on the text, the director and a team of young artists from the Etude Theater present a set of sketches based on some plot incidents and characters.

"Idiot. Return", "Workshop"

Grigory Kozlov staged a four-hour performance based on a fragment of Dostoevsky’s novel in his theater on Narodnaya Street. It was based only on the first part of “The Idiot”: Prince Myshkin returns home, meets other characters and ends up with Nastasya Filippovna. Unlike the previous production “Idiot. The Return” is an attentive, almost without digression, transfer of Dostoevsky’s text to the stage.

"Meek", "Workshop"

Another work of the “Workshop” based on Dostoevsky is more intimate and less lengthy - “The Meek One”. The author of the play is Andrey Gavryushkin, who is also a performer leading role. Using stage means, the world of the production is divided into the real and the afterlife, and the artists retell dramatic story, in which wounded pride overpowers feelings for another person.

"Double" , Alexandrinsky Theater

The largest concentration of productions based on Dostoevsky is on the stage of the Alexandrinsky Theater. His artistic director Valery Fokin refers to the texts of this writer throughout his entire career. creative career. The play “Double” is based on the writer’s fantastic story of the same name. Fokin's production is the first implementation of the text on the theater stage, which Alexandrinka is very proud of. This performance combines music, vocals, and plastic arts, and the action takes place in the scenery of St. Petersburg, mostly what is commonly called “Dostoevsky’s Petersburg.”

"Liturgy Zero" , Alexandrinsky Theater

Another production by Fokin based on Dostoevsky at Alexandrinka is the play “Liturgy Zero”. In the play, based on the novel “The Gambler,” the director follows the writer in exploring the theme of disintegration human personality. The game and roulette enslave the character and subject his personality to significant and fatal deformation.

"Dream funny man» , Alexandrinsky Theater

Third performance based on Dostoevsky in Alexandrinsky Theater(but not Valery Fokin, but Irina Keuchenko) - “The Dream of a Funny Man.” The play is again about what sometimes happens to the best aspirations of the human soul. This time the theme of catastrophic self-destruction is revealed through the destruction of the world around the main character, a funny man, performed by young artist Ivan Efremov.

"Teenager", MDT

On the MDT stage, Oleg Dmitriev staged Fyodor Dostoevsky’s novel “The Teenager,” in which we're talking about about the conflict between father and son and how the protagonist’s personality is formed: through greed and the desire for profit. To the music of Bach, Vertinsky and Paganini, the director builds a narrative on stage in which there is no catharsis or relaxation - all the action takes place at the peak of tension.

"Crime and Punishment", Lensoveta Theater

On the chamber stage of the Lensovet Theater there's a performance going on studio of the theater "Crime and Punishment". According to the idea, the young artists in the production should again remind how valuable human life and how important it is to remember that an idea is just an idea. The concept of the production takes into account modern context, in which the surname Raskolnikov contains many tragically famous synonyms, such as Breivik and others.

Katerina Liseycheva reviews: 1 ratings: 1 rating: 3

...The auditorium is waiting. The voice of Konstantin Raikin convincingly asks you to turn it off Cell phones. Everything is as usual. Except for one thing - unexpectedly this man quickly takes off on stage - there is not a hint of the 19th century: modern costume, modern speech, modern man with a charming smile and a volume of Dostoevsky. And he begins his usual dialogue with the audience. He simply begins to excite your consciousness, touch your pulse and carefully straighten the bandage of stereotypes about the theater, actors, performances, life, on your head.
The one-man show “An Evening with Dostoevsky” is Valery Fokin’s adaptation of the pamphlet “Notes from the Underground” by Fyodor Mikhailovich. The performance is divided into two parts, each of which is perceived completely differently and each as a separate mini-performance. The first is the opening of the veins of civilization, this is a conversation about the main thing: about religion, about man, about life. This classic view frightens you in its correctness; you immediately feel somehow uncomfortable both for your thoughts and for your understanding of life, which suddenly reveals obvious gaps in some places. This "sick, angry and unattractive man" to the sounds African drum and unimaginable musical improvisations begins to speak, explain, scream, dance, rush around the stage. Raikin either quietly, insinuatingly talks to you, and you let him into your soul, then he begins to speak loudly into the microphone - psychological technique intensifying attention to the main thing, when in fact, everything is important.
A huge role is played by scenery that is “not there.” An empty, elongated stage, extremely reduced (although a true theatergoer will confirm that the stage in Satyricon is one of the largest in Moscow) creates the impression of a closed life and a moment when there is nowhere to retreat and you need to talk, explain, make you believe. Almost the entire performance auditorium The light does not go out - we are under the gaze of Dostoevsky, whose thoughts enter our head like a recitative, screaming into our soul. It's scary, gentlemen...
The second part amazes with its temporary calm. It is certainly easier to understand, even psychologically. The Underground Man tells his story of the exquisite torment of a lost soul, the story of his relationship with the prostitute Lisa. Here he is much closer to the viewer, he seems to be looking at everything that happened from the outside, from the future. An incredible impression is made by the shadows growing behind the back of the Underground: the shadow of a prostitute, the shadow of a man, the shadow of conscience, the shadow of life. And it is at this moment that it seems that this angry, cynical underground man suffers. He suffers mentally and cannot find a way out. But the question is: is there a soul? As if with a scalpel, the hero removes the canvas of life from himself with words, and what we see is that there is no soul. She died. Or was not born at all.
“Consequently, this is not literature, but corrective punishment...” writes Dostoevsky. The performance allows you to experience a kind of modern catharsis: Raikin stitches fresh wounds with his talent, not allowing the viewer to leave devastated.
The evening with Dostoevsky is over. But here’s a paradox: not only is there no curtain in the scenery, there is no curtain in life either, because the questions raised by the author, director and actor are eternal. To lower the curtain means to part with the soul. An unaffordable luxury for an already soulless world.

Alla reviews: 185 ratings: 185 rating: 393

Production - reading of Dostoevsky's "Notes from Underground". I have read and am reading Dostoevsky and critical articles about his works, perhaps (I don’t remember) I read “Notes from the Underground” at school. Honestly, I got confused in the logic of the presentation of the thoughts of the Main Character of the work by Konstantin Arkadyevich, I listened to the rhythm, individual words, timbre of speech, what elements and methods the text was presented. If you like Konstantin Arkadyevich's game, go see it. Both the work and the performance are a rethinking of existence, A New Look for the life of a “little” person.

Alex Vah reviews: 5 ratings: 6 rating: 18

I would like to immediately warn those who want to attend the performance and expect to spend a pleasant evening in the theater in the company of a talented actor, this is not the performance for that. You have the hard work of psychoanalyzing shit in human soul. Or rather, to what abomination and insignificance a person who hates everyone, including himself, can reduce himself. You are amazed at Dostoevsky’s modernity, the complete feeling that the portraits were painted from today’s life. For example, an official who is afraid to take bribes and who hates his visitors finds the greatest pleasure in his life if he has the opportunity to kick them. Who can say “I love Dostoevsky” (that one), if this is not simple human vanity, an attempt to pass for smart, or the love of a patient for a psychiatrist.
There is no point in retelling the content of the performance. If you are ready for hard work, then go ahead, I think the performance will not leave you indifferent and will definitely be good for the soul.

Anna A reviews: 23 ratings: 28 rating: 18

When everything turns upside down inside you, and you forget where you are, the conclusion suggests itself: “the strings of your soul are touched, so much so that you can hear a ringing.” I don’t want to talk after the performance. Yes, and this is not necessary, everything is already clear.

The aftertaste is long and tart

Nikolay Drogaytsev reviews: 7 ratings: 7 rating: 7

What Raikin creates on stage can hardly be called simply a “one-man show”. I would compare it to a session of powerful, sometimes unbearable, spectatorial introspection based on the work greatest psychoanalyst humanity - Dostoevsky.
For an hour and a half you are transported to the very underground of human, Russian thinking: first to the level of the natural, animal subconscious (dances, drum rhythms and antics), then climbing higher - to love feelings to poor Liza, but not at all to the surface, to the light - love and understanding, but to the depths of the tragic self-flagellation of a soul in love. The viewer's path through the two parts of the performance is the path of a man who has emerged with his last breath from deep water and swallowed fresh air, but found himself only in a dark cave. And I still really want to see a bright spot of light where there is air - understanding and love, but the way out of these depths of Dostoevsky’s creativity to the surface must probably be sought at the very depths. The magnitude of Konstantin Raikin's acting talent immerses you there headlong.
Yes, this is not a performance for rest and “relaxation” after a working day or a hard week. You will experience 90 minutes of the gigantic recitative “Notes from the Underground” framed by stunningly lively lighting effects in the form of soft snow and gloomy St. Petersburg shadows. This spectacle is mesmerizing and addictive, enhancing the already powerful text load.
I think that the very nature of this performance, its foundations in the form of “Notes from the Underground” cannot evoke in the viewer a single opinion and reaction to this most powerful performance. Its understanding comes through the unique thinking of each viewer, which also determines the attitude towards it in the form of admiration or complete antipathy.
Dostoevsky for Russian culture is inexhaustible, deep and still not solved. Our entire deeply immoral, criminal modernity and disordered souls and society tell us that it is necessary to study Dostoevsky.
And you are unlikely to find something stronger for this in visual terms than this performance.