The play "The Bench" was written in 1983. It was staged by many theaters, played by many actors, not only in Russia, but also abroad. This play has long been translated from Russian and successfully performed on the stages of many countries of the world. Reviews of the performance "The Bench" will be discussed further.
The author and his play
The performance "Bench", according to reviews, is interesting to the audience. It was written by Alexander Gelman - Soviet, Russian playwright and publicist, author of many books, articles and scripts, public and political figure. His play became famous not only in our country, but also abroad.
What is so attractive about this work? What makes it understandable, painfully “ours”, familiar, not only for our, domestic, but also for foreign viewers? Why is a play from the Soviet past, with long-gone realities of being, still relevant and in demand today? Why is it so often staged on the stages of different cities of Russia and not only?
The thing is that this play is about simple and understandable things. Her characters are real and recognizable. The relationship between a man and a woman is an eternal theme. Therefore, the story told in "The Bench" is interesting to the audience and actors everywhere and everywhere. A. Gelman himself called this play "a bitter and funny story about how He and She went from mutual lies to mutual sincerity."
Plot
The performance "Bench" in Moscow collects numerous reviews. The audience is interested in the plot. Two people meet in the Tsyurupa Cultural Park. He is a womanizer and a lover of flirting. She is a divorcee, raising her little son alone and dreaming of simple female happiness - a loving husband and a strong family.
And, as it turned out, this is not their first meeting on this bench. The whole story, in fact, unfolds only because once she has already become his next victim. Once he swore his love to her, promised to buy a bicycle for his son, and in the morning he simply disappeared.
The second meeting in the park literally "blew up" their lives. In order to win Vera, Fyodor shamelessly lies, piling up one lie upon another. Vera has a difficult task - to uncover Fedor's deceit and again not fall under his male charm. When she manages to bring him to clean water, the revealed truth does not bring her joy - Fedor is married.
And after talking with Vera, Fedor suddenly realizes how much he is in love with his wife. It turns out that all the love affairs of this scorched womanizer are just a way to assert themselves and drown out the all-consuming jealousy and insane love for his wife.
This conversation on a park bench, this evening of eternity helps the characters to feel spiritual sympathy for each other and, according to the author himself, become close people. Indeed, despite all their external dissimilarity (the mysterious Fedor, who constantly changes his name and biography for each new woman, and the simple, open Vera, rushing into a new relationship, each time believing that this is forever), the characters are actually very similar . These are lost people who roam the park in search of new self-deceptions.
actors
The play "The Bench" has been staged by different directors and played by many actors in different parts of the country over the years. Of recent productions, the work of director Nikita Grinshpun with the participation of G. Kutsenko and I. Apeksimova should be noted.
According to reviews, the play "The Bench" by Kutsenko and Apeksimov play clearly, conveying to the viewer a wide range of feelings: from love and tenderness to hatred and rejection. In the hour and a half that the action lasts, the actors live with their characters for a lifetime. Not every professional is able to cope with such a task. The performance "Bench" Kutsenko, according to reviews, plays brilliantly. The actor himself likes this role very much. Not inferior to him in the game and partner.
In an interview, she said with what pleasure she worked on the role of Vera. She had long been looking for a suitable play for herself among modern dramaturgy, but could not find anything suitable. All the works seemed to her too lightweight, shallow and fragmentary. The play "The Bench" favorably differs from them in its depth of conception and beautifully written images of the characters.
The staging of the performance and acting work turned an ordinary situation into a very touching and heartfelt story, funny and sad at the same time. And this is the main merit of the actors.
"Bench" in "Snuffbox"
This performance is a very popular work. Many directors willingly take on the production of this play, and not only in different cities. The play "The Bench" was staged not so long ago in Moscow at the theater-studio of O. Tabakov.
Director-producer Alexey Muradov chose F. Lavrov and N. Shvets for the roles of heroes. This production became a premiere both for the performers and for the theatre. The performance "The Bench" in the Tabakerka received favorable reviews from the audience. The audience noted the heartfelt play of the actors, forcing the audience to experience with them, laugh and sympathize with the characters and discuss the problems raised in the play for a long time.
Reviews
Theater critics have long considered Alexander Gelman's play "The Bench" a masterpiece of social drama, and the author himself is deservedly considered the most famous and sought-after playwright of the USSR era. The play does not lose its relevance to this day, since it tells about eternal, universal values. No wonder it is so attractive to directors and is staged so often even during one theatrical season on the stages of various theaters.
The performance "The Bench" with the participation of the duet Apeksimov-Kutsenko caused a greater resonance among the theatrical community and collected more positive reviews. Critics note the convincing, soulful play of the actors and their deep immersion in the material.
The material was prepared by the RIA Novosti website
"New Opera "
last October, serious steps were expected from the very beginning. He declared an ardent desire to reform the theater, which is impossible without fundamental personnel decisions. Those followed six months after the appointment.From the energetic Dmitry Sibirtsev, who took over as director of the Moscow theater "New Opera " last October, serious steps were expected from the very beginning. He declared an ardent desire to reform the theater, which is impossible without fundamental personnel decisions. These followed six months after the appointment: Sibirtsev changed the regulations on the artistic and creative board, depriving the chairman's chair and the position of deputy director for creative issues of the chief choirmaster, the widow of the founder of the theater Natalia Popovich, who for ten years in this post actually headed "New Opera". The theater also parted ways with Igor Kolobov-Teslya, Popovich's son-in-law, and her daughter Marfa Kolobova-Teslya, who held the position of head of the literary department, wrote a letter of resignation of her own free will. As a result, the internal conflict between the head of the theater and the family of its founder turned into a loud public scandal. About the need for tough measures, about the changes that have come and are to come, as well as about the nearest plans "New Opera" Dmitry Sibirtsev said in an interview with RIA Novosti. Interviewed Elena Chishkovskaya.
- Dmitry, you started to reform "New Opera", but was it necessary to infringe on the rights of Natalya Popovich, who stood at the origins of the theater and, at the very least, but kept it afloat for many years?
When I came to the theater, those things that I would like to do in the near future were determined. Naturally, it is impossible to do everything in half a year, but something nevertheless happened. This includes the launch of the Mirror Foyer, and support for previously planned productions, and establishing contact with the stars of the first magnitude, whom we would very much like to see in the theater, but with whom we need to negotiate in advance. For this, a full-fledged international department was created, a PR department appeared, and much more. But in order for all this to work like clockwork, there must be a clear division of functions and a certain vertical in the theater. I am the theater director, I was appointed by the Department of Culture. If the department is not satisfied with my work, then after some time there will be a separation. But until this happens, I have the right to demand from each employee the fulfillment of the tasks that I set. AT "New Opera" there is such a thing as "historically formed". In fact, this means that people can do whatever they want, and they will not get anything for it.
- Can you give a specific example?
In six months, I prevented a serious outflow of funds from the theater. A unique situation: the theater began to spend more on guest performers, on the purchase of instruments, but the money did not decrease, on the contrary, it increased. Because a normal supply department has appeared, which is looking for the most profitable options from a commercial point of view, and does not conclude agreements with some friendly firms. There was such a thing in the theater, I abolished it, and it immediately became clear that this contradicted the way it "historically developed."
Let's get back to Popovich. Which of the methods "historically established" during her artistic direction of the theater did not suit you?
First, complete disrespect for the people who go on stage. I will not accept this. As soon as I hear the screams and screams that a person in power begins to emit in front of his employees, it alarms me. Secondly, the absolute rejection of the fact that the repertoire policy can change. Thirdly, the habit of certain persons to regard the theater as their property. As soon as I started to change the image of the theater, it caused an uproar: "How can you break the existing theater style?!". Yes, I break. Because now "New Opera " in terms of fame in the city is not finalizing. Look at our site on the Internet, which is supposed to attract viewers. It looks like the site of the institute of the meat and dairy industry, where all the heroes hang on the honor roll with equally tense faces. This should not be.
And you decided to take a serious step - to update the artistic and creative board, which for many years was headed by Natalya Popovich in the status, in fact, of the artistic director of the troupe?
In accordance with the charter of the theater, I changed the composition and regulations of the board. In fact, the people who worked in it will continue to work. It still includes all our conductors, the chief artist, the theater director and the chief choirmaster, that is, Natalya Popovich. The positioning of each person has changed. The founder of the theater was a conductor, and there is no problem that the current chief conductor Jan Latham-Koenig will lead the artistic and creative board. He will determine the musical policy of the theater, he will have two votes in the board. The rest have one.
- You understand that you declared war?
And the theater does not happen without conflicts. Moreover, a huge number of squabbles were provoked precisely by the policy of the past artistic leadership. There was a system of pitting people here, when one soloist could be deprived of a role, and the other, on the contrary, be treated kindly. If it was " OOO " and it would have a director or artistic director who would earn money himself and give it to artists, no problem. But the theater is not a private shop. It has a founder who pays money. Fighting with me, people are fighting with the Department of Culture, which pays them a salary. Their main argument is "we are so used to it." I can't put up with it. There is no position of artistic director in the theater, and even more so there are no such positions as "Kolobov's daughter" and "Kolobov's son-in-law". There is a head of the literary part and a deputy director. And they must do their duty.
What, they didn't do it?
As for Marfa Evgenievna, when a spoiled child believes that everything is permissible for him and is sure that he is the rightful owner of the theater, then, figuratively speaking, he must be put in a corner. Our head of the literary part simply did not understand that even in her position she was obliged to obey a lot of people in the theater. After I held a meeting at which I said that the main decisions would be made in the director's office, Martha came to me and said the following verbatim: "We put you here, we'll take you out of here". After this conversation, Natalya Grigoryevna stopped coming here too. I perfectly understand the position Popovich occupies in the theatre. It never happened that I called her - we always called up, arranged a meeting when she wanted. Thus began an open conflict.
- As a result, you fired your son-in-law Popovich.
I tried to work with him. He was deputy director for general affairs, that is, deputy for nothing. It was some fictitious position so that a person could receive money. At first I tried to overwhelm him with work. He coped with something, somewhere he showed not very serious literacy. But when a conflict situation arose, he stopped doing anything at all. Then I just abolished his post.
Natalya Popovich reacted to the changes in the art board with statements in the press, saying that she would fight for the theater.
Yes, she wrote that she considered this collegium to be incompetent, sent several letters to the department of culture. I do not exclude the possibility that she will refuse to attend board meetings, although I would not like this, because she is a very experienced person. But on the other hand, she has a certain nostalgia for what was. You know, there are provincial theaters with metropolitan manners, and there are metropolitan theaters with a provincial bias. I want us to be a truly metropolitan theater. Therefore, the Board will meet and resolve current issues. I introduced invited experts who are not required to attend every meeting. They are Alla Sigalova, opera historian Mikhail Muginshtein, baritone Boris Statsenko, artist Pavel Kaplevich. Their comments will be advisory in nature. People from the outside can always look at what is happening in the theater with a fresh look and give valuable advice.
- And what didn’t suit you with the repertoire policy - it seems that the audience is satisfied, the hall is stably filled.
A simple example. Our chief conductor Jan Latham-Koenig offered to perform Shostakovich's Thirteenth Symphony and Mahler's "Songs of a Wandering Apprentice". An excellent program, but not for sale. The permanent audience of the theater is accustomed to being given “entertainment”- opera divertissements, which are similar to each other. People in the same costumes, with the same numbers flow from one performance to another. And this is presented as new. They tell me: "In no case put on serious operas, people will not go". But we must educate the audience.
- Your opponents will reproach you for encroaching on the sacred - on the heritage of Kolobov.
Preserving the legacy of Evgeny Kolobov is one of my tasks. We have performances that were staged under Kolobov, and there are performances that have his musical version. In the latter case, the performance, dilapidated due to time, needs to be updated and made attractive to the public. And as for the operas that were staged under Kolobov, I can say that today more than half of what he did is not staged. Moreover, these are exactly the names that absolutely correspond to the phrase "New Opera": “pearl seekers” , “Valley", "Mary Stuart ", “Hamlet". Interesting, rare operas. But to restore them, serious costs are needed. Making another divertissement is much easier. If we abandon this practice, we may lose some part of the audience for the first time. But we must bring the theater to a state where the public will come here because there is something that is not in other theaters. We must make our theater fashionable.
- May in "New Opera" the premiere of "Tristan and Isolde" by Wagner is scheduled - far from a divertissement. Believe that the troupe " will raise" such a serious job?
When I came to the post of director and heard about “ Tristana", then, knowing the composition of the troupe, which is focused on a different repertoire, he clutched his head. This premiere was approved before my arrival, and, of course, it is insanely difficult. But I am amazed at the efficiency of many of our artists, who, despite the fact that they participate in the current repertoire, are learning the parts and working with all their dedication. I remember that on January 2 I came to the theater and saw Veniamin Yegorov, who was appointed to play the role of Tristan. He had a lesson, he studied. I was pleased with how professional the person is in his work. This is what I respect and intend to cultivate in the theatre. I told him that if everything goes well, if he masters this material, then he will sing the first performance, although we will have to involve guest performers in the premiere. In any case, the performance will be released, and I hope everything will be very worthy. Jan Latham-Koenig is a great specialist in Wagner's music, he believes that the theater will cope. And most importantly, the interest of the audience is already very high. The first two performances are almost completely sold out, despite the beginning summer season. Which means, “ Tristan" attracts the public.
/ Tuesday, April 2, 2013 /Topics: culture Money
Acquainted:
In the club, after winning the competition, they gave a banana and a girl into their hands, it turned out to be a dance with a girl demonstrating a blowjob on a banana, which was between my legs as a member, which I waved, looking at the audience. I lit it very well, the men then came up, shook hands, said into the microphone something like: “Thanks to everyone who was rooting for me.”
After the competition, a girl comes up, takes my hand, looks into my eyes, and says that she was rooting for me.
A small Latin dance with her, then she disappeared into the crowd.
I remember what I liked, I go to look for her with my eyes, I find her on the sofa in the company of friends, some guys are nearby.
I'm waiting for a favorable moment, half of the company goes to the dance floor, insolently I flop next to her. I say: “It was cool to dance with you, you have such a nice waist, such a nose, such eyes.” Neutral reaction, polite blah blah blah. I say: "Give me the phone, let's meet, take a walk."
- Well, I'm here with a guy in the company, I can't do this, - and all that.
- Come on, you are! What do you have to lose, you'll see, I'm cool.
— (breaks down) Okay, write it down.
I finished my prize bottle of champagne with a friend, left the club, at the entrance I took the phone from the girl with whom I participated in the competition, points for 6, and offered to give me my phone to her friend in front of her, 6.5-7. Girlfriend smiled sweetly, chatted about something. Considering that before that I was on the dance floor, in response to the remark with the pathos non-verbalism of the princess, “I waved my arms here” and said: “Go to hell”, a very nice result.
Called:
I decided to clean up the phone list, I called her - they say some garbage, something like this number does not exist. Well, I think, damn it, I nailed it. Strange though, everything seemed to be fine.
Since he remembered that the girl was standing, he did not remove the phone.
I called in a month, got through, was surprised, picks up the phone, the conversation is about nothing.
scored.
I wake up one day in a closet on a balcony measuring 2 by 3 meters, there are bookshelves around, etc., cars are noisy from the highway. The houses are being renovated, bags of cement, dust, concrete and building materials are scattered around. Sun and spring outside!
I remember that today I have two free tickets to the theater, to the stalls for the opera.
I'm wondering who to go with.
I open the cot, I call the girls.
I call her, remember. Raises, tells how she went to the club, about some problems that happened, listen carefully to everything, persistently suggest going to the theater, some excuses about how she feels, then agrees. I myself think that I am behaving like a pioneer, what the hell I gave up listening to all sorts of nonsense on the phone, then I think that you still need to behave like a human being and there is nothing wrong with that. In general, at that time I was still in captivity of stereotypes, that's why I thought so.
We agree to meet near the theatre.
Date:
Arrived a little late. I see her, I rejoice in beauty. I take my arm, lead me to the theater, we were a little late, we pass the main entrance, we approach the entrance to the parterre, the guard says: “This entrance is already closed, go through the central one.” We go to the central one, it is closed in front of our nose. Bubulki do not let a damn thing into the hall. Somehow I dispose of them, let them pass, sit in the back rows.
She gets coughed up, she also infected me, we cough all over the hall together, the surrounding people grumble.
Throughout the first part of the action, we rush, cough, we are ashamed, but we can’t do anything with ourselves.
During the break, we go out to look at the theater, show her its beauties, go up to the balcony, chat about life, tell about herself that she was in Japan and worked there for a long time at an interesting job.
I listen to her and look at her beauty, I rejoice. A little self-satisfied.
After the break, we move to the stalls, to the foreigners. We also cough there, the guard is ready to kill, finally some woman next to me gives me a chewing gum with menthol. Let's quiet down for a while.
After the opera, we go out into the street, I load it with something, I try my best, I see that it’s not being conducted, there is no return, I somehow get bored, I lose energy, I reach the subway, I tell her: “Bye.” From her, in response, a proposal to continue communication and go for a walk around Moscow.
I agree, we go to Manezhnaya, then we sit down on a bench in the AS, I hug her, I tell her something about birds, I stroke her body, as I wrote. I see what is being done now, after a while I fall silent, I see from the reaction of the pupils that the moment of readiness has come, I suck.
We kiss for a long time, it blows my mind, the girl too. Further, the kinesthetics are tougher, wildly excited, it’s already late, escorts me to the subway, I see that he doesn’t want to let go. I suggest that she go to my house (despite the fact that someone is at home and there is a repair, the srach is such that f * zdets).
- And often do you offer girls to go to your house on the first date?
“Honestly, this is the first time for me.
The answer suits her very much, but nevertheless does not agree.
I say goodbye to the thoughts that I could put the squeeze on.
While I'm driving home by taxi, I feel that everything was 100%, I tear the roof myself.
Seduced by:
The next day. I am standing late at night in the forest, talking.
Call: "La-la-la, I'm there right now." I say: “What did you forget there, take a taxi and come to me.” She: "Hurrah, I'll come to you now." I make an appointment to meet near the house. I meet her, just for the sake of appearance, I walk her a little, we chat about nothing, then I lead her home, without telling where we are going. I just zigzag. We go in, I open a beautiful door, behind which horror is simple. She has a trance from the environment. Until I was completely stunned, I lead to the balcony, look at the dawn for a minute, go into the closet, light a candle. I gently pull her in.
Moscow theater "New Opera" in October last year, from the outset expected major steps. He declared an ardent desire to reform the theater, which is impossible without fundamental personnel decisions. These followed six months after the appointment: Sibirtsev changed the regulations on the artistic and creative board, depriving the chairman's chair and the position of deputy director for creative issues of the chief choirmaster, the widow of the founder of the theater Natalya Popovich, who for ten years in this post actually headed the New Opera. The theater also parted ways with Igor Kolobov-Teslya, Popovich's son-in-law, and her daughter Marfa Kolobova-Teslya, who held the position of head of the literary department, wrote a letter of resignation of her own free will. As a result, the internal conflict between the head of the theater and the family of its founder turned into a loud public scandal. Dmitry Sibirtsev spoke about the need for tough measures, about the changes that have come and are to come, as well as about the immediate plans of the Novaya Opera in an interview with RIA Novosti. Interviewed Elena Chishkovskaya.
Dmitry, you started reforming the Novaya Opera, but was it necessary to infringe on the rights of Natalya Popovich, who was at the forefront of the theater and, at the very least, kept it afloat for many years?
- When I came to the theater, those things that I would like to do in the near future were determined. Naturally, it is impossible to do everything in six months, but. This includes the launch of the Mirror Foyer, and support for previously planned productions, and establishing contact with the stars of the first magnitude, whom we would very much like to see in the theater, but with whom we need to negotiate in advance. For this, a full-fledged international department was created, a PR department appeared, and much more. But in order for all this to work like clockwork, there must be a clear division of functions and a certain vertical in the theater. I am the director of the theater, I was appointed by the Department of Culture. If the department is dissatisfied with my work, then after some time there will be a separation. But until this happens, I have the right to demand from each employee the fulfillment of the tasks that I set. In the "New Opera" there is such a thing as "historically formed." In fact, this means that people can do whatever they want, and they will not get anything for it.
- Can you give a specific example?
“For six months, I prevented a serious outflow of funds from the theater. A unique situation: the theater began to spend more on guest performers, on the purchase of instruments, but the money did not decrease, on the contrary, it increased. Because a normal supply department has appeared, which is looking for the most profitable options from a commercial point of view, and does not conclude agreements with some friendly firms. There was such a thing in the theater, I abolished it, and it immediately became clear that this contradicted the way it "historically developed."
Let's get back to Popovich. Which of the methods "historically established" during her artistic direction of the theater did not suit you?
- Firstly, complete disrespect for the people who go on stage. I will not accept this. As soon as I hear the screams and screams that a person in power begins to emit in front of his employees, it alarms me. Secondly, the absolute rejection of the fact that the repertoire policy can change. Thirdly, the habit of certain persons to regard the theater as their property. As soon as I started to change the image of the theater, it caused a storm of indignation: "How can you break the existing style in the theater?!" Yes, I break. Because now the "New Opera" in terms of fame in the city is not being finalized. Look at our site on the Internet, which is supposed to attract viewers. It looks like the site of the institute of the meat and dairy industry, where all the heroes hang on the honor roll with equally tense faces. This should not be.
And you decided to take a serious step - to update the artistic and creative board, which for many years was headed by Natalya Popovich in the status, in fact, of the artistic director of the troupe?
- In accordance with the charter of the theater, I changed the composition and regulations of the board. In fact, the people who worked in it will continue to work. It still includes all our conductors, the chief artist, the theater director and the chief choirmaster, that is, Natalya Popovich. The positioning of each person has changed. The founder of the theater was a conductor, and there is no problem that the current chief conductor Jan Latham-Koenig will lead the artistic and creative board. He will determine the musical policy of the theater, he will have two votes in the board. The rest have one.
- You understand that you declared war?
- And the theater does not happen without conflicts. Moreover, a huge number of squabbles were provoked precisely by the policy of the past artistic leadership. There was a system of pitting people here, when one soloist could be deprived of a role, and the other, on the contrary, be treated kindly. If it was "OOO" and it would have a director or artistic director who would earn money himself and give it to artists, there is no problem. But the theater is not a private shop. It has a founder who pays money. Fighting with me, people are fighting with the Department of Culture, which pays them a salary. Their main argument is "we are so used to it." I can't put up with it. There is no position of artistic director in the theater, and even more so there are no such positions as "Kolobov's daughter" and "Kolobov's son-in-law". There is a head of the literary part and a deputy director. And they must do their duty.
What, they didn't do it?
- As for Marfa Evgenievna, when a spoiled child believes that everything is permissible for him and is sure that he is the full-fledged owner of the theater, then, figuratively speaking, he must be put in a corner. Our head of the literary part simply did not understand that even in her position she was obliged to obey a lot of people in the theater. After I held a meeting at which I said that the main decisions would be made in the director's office, Martha came to me and said verbatim the following: "We put you here, we will remove you from here." After this conversation, Natalya Grigoryevna stopped coming here too. I perfectly understand the position Popovich occupies in the theatre. It never happened that I called her - we always called up, arranged a meeting when she wanted. Thus began an open conflict.
- As a result, you fired your son-in-law Popovich.
I tried to work with him. He was deputy director for general affairs, that is, deputy for nothing. It was some fictitious position so that a person could receive money. At first I tried to overwhelm him with work. He coped with something, somewhere he showed not very serious literacy. But when a conflict situation arose, he stopped doing anything at all. Then I just abolished his post.
Natalya Popovich reacted to the changes in the art board with statements in the press, saying that she would fight for the theater.
- Yes, she wrote that she considers this collegium to be incompetent, sent several letters to the department of culture. I do not exclude the possibility that she will refuse to attend board meetings, although I would not like this, because she is a very experienced person. But on the other hand, she has a certain nostalgia for what was. You know, there are provincial theaters with metropolitan manners, and there are metropolitan theaters with a provincial bias. I want us to be a truly metropolitan theater. Therefore, the Board will meet and resolve current issues. I introduced invited experts who are not required to attend every meeting. They are Alla Sigalova, opera historian Mikhail Muginshtein, baritone Boris Statsenko, artist Pavel Kaplevich. Their comments will be advisory in nature. People from the outside can always look at what is happening in the theater with a fresh look and give valuable advice.
- And what didn’t suit you with the repertoire policy - it seems that the audience is satisfied, the hall is stably filled.
— A simple example. Our chief conductor Jan Latham-Koenig offered to perform Shostakovich's Thirteenth Symphony and Mahler's "Songs of a Wandering Apprentice". An excellent program, but not for sale. The permanent audience of the theater is used to being given "entertainment" all the time - opera divertissements, which are similar to one another. People in the same costumes, with the same numbers flow from one performance to another. And this is presented as new. They tell me: "In no case put on serious operas, people will not go." But we must educate the audience.
- Your opponents will reproach you for encroaching on the sacred - on the heritage of Kolobov.
— Preserving the legacy of Yevgeny Kolobov is one of my tasks. We have performances that were staged under Kolobov, and there are performances that have his musical version. In the latter case, the performance, dilapidated due to time, needs to be updated and made attractive to the public. And as for the operas that were staged under Kolobov, I can say that today more than half of what he did is not staged. Moreover, these are exactly the names that absolutely correspond to the phrase "New Opera": "Pearl Diggers", "Valli", "Mary Stuart", "Hamlet". Interesting, rare operas. But to restore them, serious costs are needed. Making another divertissement is much easier. If we abandon this practice, we may lose some part of the audience for the first time. But we must bring the theater to a state where the public will come here because there is something that is not in other theaters. We must make our theater fashionable.
The premiere of Wagner's Tristan and Isolde is scheduled for May at the Novaya Opera, far from being a divertissement. Do you believe that the troupe will "raise" such a serious work?
- When I came to the post of director and heard about "Tristan", then, knowing the composition of the troupe, which is focused on a different repertoire, I grabbed my head. This premiere was approved before my arrival, and, of course, it is insanely difficult. But I am amazed at the efficiency of many of our artists, who, despite the fact that they participate in the current repertoire, are learning the parts and working with all their dedication. I remember that on January 2 I came to the theater and saw Veniamin Yegorov, who was appointed to play the role of Tristan. He had a lesson, he studied. I was pleased with how professional the person is in his work. This is what I respect and intend to cultivate in the theatre. I told him that if everything goes well, if he masters this material, then he will sing the first performance, although we will have to involve guest performers in the premiere. In any case, the performance will be released, and I hope everything will be very worthy. Jan Latham-Koenig is a great specialist in Wagner's music, he believes that the theater will cope. And most importantly, the interest of the audience is already very high. The first two performances are almost completely sold out, despite the beginning summer season. So, "Tristan" attracts the public.
Small stage - for children
The project "Small Stage" in the Novocherkassk Drama Theater. V.F. Komissarzhevskaya continues! On the eve of the International Theater Day, the premiere of the interactive performance "Theater from A to Z" for young viewers took place here. The younger generation got a unique opportunity to touch the mystery of the theatrical profession.
The junkors of the "Private Shop" and I visited both the delivery of the performance on March 25 and the first performance on the 26th. And this is what the guys who had to be both spectators and actors say.
"We watched"
"The theater is a place where what the viewer does not even dream of in his dreams comes true."
Peter Zadek.
How often do you go to the theater? How often do you take your children? I do not think that many people are interested in this kind of art, especially in our city, but in vain. On March 25, I attended the presentation of a performance called “Theater from A to Z”, more designed for children, but, in my opinion, it was no less interesting for adults. The main idea was to talk about the people who play an important role in the creation of the production, but remain in the background of the spotlights. But they perform no less significant work than the actors. In order for the image of each hero to be full-fledged, accessible and understandable to everyone, not one specialist, but a whole troupe is working on it.
The construction of the whole performance was interesting: it was like a staging within a staging. The story about how everything happens on the stage began with the main person in the theater, the generator of ideas - the director. All creativity begins with the choice of a play, with one that would inspire interesting decisions.
Then the director goes to the artist, to tell about the chosen play, so that he, in turn, thinks over the scenery, all the design. As soon as this is approved, then props come into operation - people who make anything out of the most ordinary things (paper, foam plastic, plasticine): fruits, dishes, costume details and much more: everything that is on stage is the work of their golden hands
Then the director goes to the costume designers. They sew costumes for actors, all the clothes that they wear - both rags and royal dresses - everything came out from under the needles of the dressers.
It would seem that everything is ready, what else is needed for a perfect performance? Well, what about those wonderful people who make anyone out of ordinary actors: forest monsters, kings, who fasten beards, noses, put on wigs, of course, these are make-up artists, without their work the audience would not always understand the hero.
The matter remains small. When everything is ready, the workers fix the scenery, arrange fake things, everything, as the artist painted. An ordinary, gray stage turns into a wonderful world of theater and games! 
They did not forget to tell us about those whom the audience never sees - these are the masters of light and music, without their work there would not be a complete sense of the world where the action takes place. They can do everything: any season, weather conditions, night, day, battles and the sound of the sea - everything is subject to their hands and talents. 
Thus, this albeit short, but very informative performance says a lot, that the theater is not only a game of actors on stage, but a complex and exciting process of creating a production in which a huge number of people are involved. All of them are involved in the scene and perform very important functions.
Alexandra Belik,
11th grade student
Lyceum No. 7,
yunkor "Private shop".
"We played!"
On March 26, we (7th, 9th, 11th grades of school No. 5) went to the theater. V.F. Komissarzhevskaya.
Even before the start of the performance, a journalist approached me and asked me a question: “What does theater mean to you?” I was even a little confused, because I don’t often get the chance to talk about it. But soon I realized that it was an improvisation of my classmates, apparently, it was they who recommended me to the journalist, although why exactly ME remained a mystery to me. They promised to show an interview with me on the 37th TV channel.
But back to the performance, it was shown on a small stage.
For us, the actors of the theater prepared a short performance dedicated to the Theater Day. It was attended by 6 actors. The main character of this performance was the Theater Fairy (actress Valeria Dyba). The fairy told about the professions in the theater: author, artist, stage director, make-up artist, costume designer, assemblers, decorators. 
For example, did you know that make-up artists work wonders... on the faces of the speakers - they come up with the image of the actor? Costume designers sew costumes not only for people, but also “dress” animals, which actors also have to play. Having visited the dresser, I learned that the main thing is that the clothes should not be made according to fashion, but according to convenience. The riggers create various pieces of furniture and everyday life (cabinets, chairs, tables…) on the stage, and the decorators make wonderful products with their own hands: for example, various fruits, tools, equipment are made of paper, and these items are very difficult to distinguish from the real ones. When the performance begins, the decorators are responsible for all the scenery on the stage. 
The work of the director-producer, in my opinion, is the most difficult. Not everyone can be a director. The Theatrical Fairy told us how the play begins to be staged. To begin with, the director must choose a good play, then he must go to the artist to tell the "picture" that he sees in his head, and the artist must draw this "picture" on the canvas. Then the director-producer must choose the actors who should play the characters of the play. And only when the scenery is set up, when the lights are on, when all the costumes are ready, only then can the performances begin. 
And so, as soon as the Theater Fairy told us all the secrets about the theater masters, we began to stage the play. To my surprise, the actors showing this performance said that we (the audience) would participate in it! Since I was sitting in the front row, I was invited to participate in the play "Turnip". I was Grandma. I showed my heroine so funny that the whole small hall laughed, and this betrayed my determination!
Anna Lopatina,
7th grade student of school No. 5,
yunkor "Private shop".
Photo: Mikhail Opalev (Grade 11, Lyceum No. 7, Junkor "CHL"); Elena Nadtoka.
