Venetian twins theater on Taganka buy. Bloggers about the play "Venetian Twins" at the Taganka Theater

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Carlo Goldoni

Comedy

Director - Paolo Landi
Artist - Santi Migneco
Adaptation of the play - Paolo Landi
Choreographers - Lidia Biondi, Luciano Broggi
Fencing - Konstantin Lyubimov
Choirmaster - Tatyana Zhanova

“The Venetian Twins” is a light and elegant commedia dell'arte based on the play of the same name by Carlo Goldoni, staged by Italian director Paolo Emilio Landi and artist Santi Migneco - in strict adherence to the canons of commedia dell'arte. The plot of the story is simple and straightforward - two twin brothers, unaware of each other's existence, fall in love with the same girl. In this confusion there will be laughter, tears, deceit, and, of course, a happy ending.
The performance is full of light, music, and that pure joy that only happens in childhood. For two hours, viewers will forget about the worries and bustle of everyday life in order to plunge into the world of naive children's ideas.

The performance features music by A. Vivaldi, D. Tartini, G. Handel, L. Franchisci.

Characters and performers:

Premiere:December 2011

Duration:2 hours 10 minutes

Paolo Emilio Landi (Italian: Paolo Emilio Landi) - Italian director, television journalist, professor at the University of Richmond (USA, Virginia)

Paolo Emilio Landi graduated with honors from the Faculty of Theater at the University of Rome, and worked as a television journalist in many countries on all continents, with the exception of Australia. He has been involved in documentaries and is now making documentaries for the Italian State Television. He successfully combines two areas of activity - theater and television. Fluent in several languages, including Russian, English, French.

In Russia, the creative aesthetics of Paolo Emilio Landi found fertile ground for itself, and his productions have remained in theater repertoires for many years.
His directorial debut in 1986 was the production of Tom Stoppard's play After Magritte. Real success came to Paolo Emilio Landi after the brilliant director's version of E. Ionescu's play “The Bald Singer” he presented.

The director returned to this work several times. He staged it in theaters in Italy, France, the USA and Russia. Paolo Landi knows how to find and show the funny in the sad and vice versa, the sad in the funny. He widely uses acting skills, brought to choreographic precision, to convey the concept. And the text in his direction is not only a plot guide, but also the most important element of the sound score of the performance.

Paolo E. Landi graduated from the University of Rome “La Sapienza” (founded in 1303), defended his dissertation at the Department of Literature in the specialty “American Literature”. The theme of his work was one of Tennessee Williams's late plays, A Game for Two. This play combines brilliant dramaturgy with original text, the images of which sometimes resemble nightmares. In his directorial work, Paolo Landi again turned to this work and staged a play based on it, the world premiere of which took place in 1989 at the Festival of Arts in the city of Todi (international festival in Umbria).

In the late 90s, Paolo Emilio Landi first came to the United States, at the Milwaukee Repertory Theater, to stage the play “The Servant of Two Masters” by C. Goldoni, which was eventually recognized as the best theatrical event of the year. A little later, his constant collaboration began with the University of Richmond (Virginia), where he was invited to give a course of lectures on theater studies and where he continued directing experiments with his students. The range of creative preferences of the director is very wide: from the classics of Italian theater (C. Goldoni, E. Scarpetta, L. Pirandello, E. de Filippo) and plays by modern English playwrights - T. Stoppard, M. Frain to the “theater of the absurd” and musicals ( Lady's Night).

The continued success of Paolo Landi's productions lies in the subtle combination of tragic and comic principles, psychologism in the spirit of Stanislavsky, and the masterful use of music, choreography and video sequences.

Alcohol in glasses from the sleeve.

There was an abusive article in Kommersant about the new Taganka twins, which really reminded me that I need to unsubscribe.

But, apparently, I will not write about the performance, but based on the article. Everyone writes about themselves, not about the performance.

Yes, the two jokes that the author of Kommersant writes about didn’t seem very good to me either. True, I immediately forgot about them, and only remembered while reading the article. I somehow try not to notice the bad, if it’s just a little bit. Everywhere should have its own fly in the ointment and a white dog. The white dog is such a design technique. It is imperative to leave some obvious, glaring flaw in the finished work. So that the customer says - hey, take this away. So the joke with the “gondola” is really inappropriate, and “I gave him... a slap in the face” is so stupid and hackneyed that I didn’t even notice, but it probably happened, since an authoritative critic writes. There was some other phrase “on the verge”, I don’t remember anymore. But three shortcomings against the backdrop of overall success are not much. By the way, I boil down the shortcomings to the fact that the Italian director does not know the Russian language in all its nuances and details. It was the play on words that failed: the edges of vulgarity are very thin. In general, commedia dell'arte is kind of like a street comedy, there were always not indirect, but direct hints, and so on and so forth, and the crowd laughed. So, when in a round dance of masks a blasphemous mask appears and begins to show everyone its big inflatable ass - it looks like a reconstruction of a carnival element from Goldoni’s era. And “gondola” is a modern naked ass, so what?

In general, a comedy should be a comedy, and not an obsequious costume reenactment; it cannot be done without modern “assholes”. But let’s leave the assholes to proctologists and critics from serious publications and turn our gaze to the stars.

Brief summary of Goldoni’s comedy “The Venetian Twins”: a father sends his son to a rich childless relative to be raised. The other son (twin brother of the first) remains at home. The boys know about each other’s existence, but they were raised separately, and despite their striking external similarity, they are not at all alike internally. During the carnival, they both end up in Venice, and confusion begins there: the brothers' brides confuse them, the servants also confuse them, everyone confuses, one brother skims the cream, the other gets beaters for it.

The main and main character for me was one of the twins - Zanetto. A very unusual (Prince Myshkin), sincere (“like a fireman” (c) Down House), naive person who is looking for love. An adult child. Not a type, but a character. Piece work. The roles of the twins are played by one artist (I saw Alexander Lyrchikov in this role, in another cast it was Dmitry Vysotsky - I didn’t see him). The artist transforms himself brilliantly: it creates a complete feeling that there are two different people on stage. But someone must remain alone. The winner will bow out.

Zanetto’s brother’s name is Tonino - he’s an ordinary “good guy”, average, nothing. That is, a mask. And Zanetto is a man. There are only two of them - people among the masks. The second person is the villain Signor Pancrazio, who is in love with Zanetto’s bride. Evil is played by Sergei Trifonov. His Signor Pancrazio - even though he is the last bastard - is a pity, just as I feel sorry for Claude Frollo from “Notre Dame Cathedral”. He is very human - bad, but human. Not a mask of "evil". The rest of the characters are either classic masks of Italian comedy (Columbina, Brighella, Harlequin), or carnival masks (Moon, Sun, Death), or comedy types: two unlucky comic grooms, fat and thin, abandoned and found brides, stupid but worthy happy ending, greedy father, etc.

It's a comedy, but the two main characters die at the end. It is people who die: Zanetto and Pancrazio. There are masks left. Masks - since they are masks - quickly forget about the death of people, because people belong to another world, and the fact that they left one other world (the world of living people) to another other world (dead people) does not matter to the masks. The main thing is that everything is fine with them. I think this is very important in general, and very much about people. During their lifetime, many people turn into masks, cultivate their masks, and strengthen them. And they try to get rid of human beings who remind us that things happen differently. They try to forget about them as quickly as possible.

Zanetto flies to heaven in a hot air balloon, Signor Pancrazio goes backstage to die, and, apparently, falls into hell, and Venice is flooded with water. A mask representing Death covers the scene with a transparent blue cloth, this is a flood, and the happy masks are likely to remain under water. At first everyone was having fun, and then they died. You can think like this, or you can imagine that water is oblivion that will cover the masks that have arranged their little lives. And about Zanetto and Pancrazio - the personification of absolute good and absolute evil, with a comic, naturally, shade - they will not be forgotten. They disappeared before the blue cloth of oblivion appeared on the scene. The present, good or evil done from the heart, is not forgotten.

One of the most pleasant discoveries of the play (I have already seen the rest of the actors more than once, and I know what unreal fellows they are) is the performer in the role of Tonino’s friend, the “thin comic loser groom” who is in love with Tonino’s bride. A charming young man with amazing self-irony and very flexible. The scene of the duel between two loser suitors is a real dance. Well, the fact that this groom (by the director’s intention or not) clearly cannot understand who he loves more - his friend Tonino, or his bride Bearice - makes me personally, yes, me, happy, because this is my kink, and who is not without weaknesses?

I looked on the theater’s website for details from the life of this artist, and was surprised to discover that the new faceless false Yeshua from the completely broken “The Master and Margarita” and this sunbeam are one person. I still won’t forgive you for “The Master,” but I’ll stop being biased. It’s good when an artist gets “his” role. It’s bad when it’s “not his.” And it seems to me that the comic gift in any person awakens earlier than depth and wisdom (which, let’s be honest, does not awaken in every person).

I'll go to the show again. And further. Of course, there is no need to look for Lyubimov there. But Lyubimov is no longer left in Lyubimov. Nothing is permanent, etc. Everything ends that once began, but does not disappear at all, but is transformed into something else, and manuscripts do not burn, and do not even decay, because something elusive remains in the world, something that has changed thanks to this. A lot has changed in the world thanks to the theater of Yu. P. Lyubimov. And it will continue to change. Thanks to this theater, the blue fabric of oblivion will never engulf it. I will love the new theater too. May everything be fine for them.

I am very far from the artistic world, but it seems to me that every good artist is in some way a little Zanetto. A sincere person who has not forgotten how to be surprised by the world, a big child looking for love.

Is a good director a puppeteer, Signor Pancrazio?

“Where there is more theatricality and life - in court or in the theater - is unknown. Most likely, both there and there.
Giving Italian lessons to the daughters of the French king, Carlo Goldoni increased the number of plays to 267.
And - judging by this production - they all need to be staged and reviewed.
Just for vitality, joy and fashionable “art therapy”.
The play entitled “The Beautiful Georgian Woman” is especially interesting. Why were twins chosen?
Most likely, this is one of the best.
then in this performance you can enjoy the “fourth wall” effect.
When actors communicate with the audience during a performance, and everyone, everyone, as a rule, enjoys it.
This effect is not modern, but on the contrary, the Taganka Theater was inherited from the ancient theater. And the theater takes full advantage of this legacy:
The actors shout something like “Long live Taganka”, quickly carry a tape advertising the play “Coriolanus” against the background of the general movement on stage, start communicating with a person from the audience named Seryoga
They sing “here is our Italian detachment walking together in a row”
etc.
And we like it.
I also like the actors.
They are talented and attractive at the same time, they are musical, they move well, for example, the Captain (police) practically danced his role, episodic, but effective..."

bulyukina_e
How I found out what “commedia dell’arte” is at the Taganka Theater

"...This is a performance with a large share of improvisation, in which some actors play in masks. Since the action takes place during the carnival in Verona, the masks look especially appropriate and ironic.
The performance is most like a carnival - stunning costumes, masks, Italian passions, songs, Vivaldi's music will make a holiday out of any bad summer day. But most of all I liked the interaction between the actors and the audience and the improvisation (“Stop, Vitya needs to go out…” - said to the point)...
This time I will talk about the ending, because it puzzled me and, on the whole, does not spoil all the advantages of the production. Zanetto dies after drinking poison, which was recommended to him as a means of oblivion and at the same time attracting women. He was rejected by both Rosaura and Beatrice, and he thus decided to take revenge on them. It would seem like a tragedy.
But no, everything is resolved in the best possible way and without Zanetto, everyone is happy. And such a strange plot twist, it seems to me, justifies the genre, because the twins are played by the same actor, and he could only take the bow in the role of one of the brothers. It turns out that even though the comedy is even too funny in places, it still makes you think seriously about relationships..."

catherine_catty
“Venetian Twins” or Feel like a spectator of the 18th century.

“When I was little, I, like many girls, often imagined myself as a princess or a court lady. I go out in a long dress with a train from a carriage... Or I dance at a ball... Or here’s another thing: I sit in the court theater and I watch plays by Shakespeare, Moliere or Goldoni... Well, about the carriage - you need it in tourist places. There you can ride on horseback or in a carriage. However, how much it will cost is a big question. But I rode. I really wanted my childhood dream to come true . With dancing - to role-players or reenactors. But about the theater... The Hermitage Theater in St. Petersburg? The theater in the Ostankino estate? It’s difficult to get in, the auditorium is small... There is another option: at the Taganka Theater Paolo Emilio Landi staged Goldoni’s play " Venetian twins."
“What a miracle! - you say, “This author is still popular today, his plays are shown in theaters all the time.” That's how it is. But Lundy staged precisely the commedia dell'arte. With costumes from the 18th century, with all the techniques of this particular genre. Yes, the film “The Servant of Two Masters” based on the play by the same Goldoni is wonderful, I love it dearly. But it is staged in a modern manner. But the performance is not. If 300 years ago it was customary for Arlecchino and Brighella to wear masks, so they wear them. Did the actors then introduce allusions to contemporary events into the text of the play? Please, the 18th century text fits perfectly with the “Eurs”, Taganka and the telegram. Did the actors communicate with the audience? As many as you like! In general, this is a great opportunity on the theme “Feel like a spectator of the 18th century” with all the pros and without the cons (Well, there is an uncomfortable suit, unsanitary conditions, etc.) ...
Everyone played great. But I would like to specifically mention Dmitry Vysotsky, who performed the roles of Zanetto and Tonino. Yes, I understand, actors are masters of disguise. But the man, without saying a word, could show that this was the brave and smart Tonino, and this was his unlucky and narrow-minded twin brother. Silently. This is super class! ..."

The main characters are the aristocrat Tonino, a smart intellectual, brave and decisive, and the good-natured Zanetto, who is considered a simpleton thanks to his sincerity and simplicity. Separated as children and raised separately, the twin brothers are unaware of each other's existence. By force of circumstances, Tonino and Zanetto find themselves in Verona at the same time, unaware that their appearance will bring confusion into the lives and love affairs of the city’s inhabitants. Tonino is looking for his beloved Beatrice, who decided to flee Venice to unite with Tonino, and now she is waiting for him in Verona, refusing the lover Lelio who is pursuing her. The impoverished Doctor Balanzoni really hopes that his pupil Rosaura, from whom he hides the secret of her origin, will marry the naive, rich Zanetto and with a successful marriage will solve the doctor’s financial problems. Rosaura, who considers herself the daughter of Balanzoni, dreams of romantic love and can’t wait to meet her groom. Rosaura’s maid, Columbina, who promised the doctor not to tell Rosaura a family secret, in turn hopes that he will marry her to Zanetto’s servant, the merry fellow Arlecchino. And the treacherous family friend Pancrazio goes to great lengths to win Rosaura’s heart and break off her engagement to Zanetto. In a word, passions are running high!