By tram in childhood

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Sofia Trykolenko

By tram - in childhood

Annotation:

This article is a review of the production of Yuri Rayevsky "City of the Worlds, or two trams" based on the play by Sergei Cherepanov, performed in Kiev in April 2017. The performance of the theater "Rainbow" demonstrates the features of human perception of the surrounding world in different age periods, for example, for three generations reveals the whirlpool of city life.

Key words: performance, theater, production, scenography, direction.

The history of the youth of every modern inhabitant of Kiev inevitably contains memories of the peculiarities of the city's transport system, which, before the dominance of private cars, was not just a means of getting from one point on the map to another, but also a kind of "meeting place" for communication, exchange of experience, gossip and just admiring Urban landscapes. The play "The City of Worlds, or Two Trams" by the theater "Rainbow" based on the play by Sergei Cherepanov staged by young director Yury Rayevsky tells about the fate of the Kyiv family for half a century: the eyes of the main character Alexander, performed by three actors of different ages: Sergei Cherepanov, Konstantin Chernyakhovsky and Viter Kondrianenko. They represent the different periods of Alexander's life and his perception of the surrounding reality. The performance of the performance is dedicated to the grandmother of Alexander - Sofya Mikhailovna, a difficult life that looms due to her stories. The audience sees the childhood and youth of Sophia Mikhailovna, who lived in luxury and abundance before the revolution; In Soviet times, who learned the fear of arrest and persecution. A Jewish woman, a daughter of a well-to-do verry, Sofochka was a favorite of the family and a recognized beauty of Poltava. Dizzying love, early marriage and moving to Kiev coincided with the tragic events of the revolution, after - the war and the cleansing of Jews. Stately, majestic and at the same time brave and straightforward, Sophia Mikhailovna, performed by Marina Falkovich, amazes spectators with her inner strength - against the backdrop of the comical vicissitudes of the plot, a deep personal tragedy stretches in a black thread: the death of brothers, the destruction of the habitual way of life of persecution, constant fear tempered her character , But retained an ardent love for the family. She knows Kiev, and Kiev knows it - the old center, and the new Svyatoshino with Voskresenka sometimes with ecstasy, sometimes with envy contemplate the elderly, but still beautiful, elegantly dressed (from the Prots!) Lady, who daily by two trams gets to her Grandson, thus passing through the whole city. It is the leitmotif of a trip in a tram that reveals the abyss of memories that she shares with her grandson. The movement of the car along the rails reminds of the sliding of Moira's fingers along the thread of life-it accelerates or slows down, there are nodules on it, sometimes it gets terribly entangled ... That's how the plot of the play unfolds-cheerful monologues and casual conversations give way to full of pain and fear of talking about repression and persecution , And again pass into an even, serene channel. Like a tramway. So, year after year, Sofya Mikhailovna goes to her grandson and home, releasing the past through conversations with him and indulging in dreams. A similar plot line is also found in other theater performances, for example, the Kiev theater-studio "Most" in 2013 presented the camera production of Julia Gasilina "Million parashutikov" based on N. Nezhdanoi's play, in which a young woman lives the life of her Nazi relative, shot by Nazis. The contact of different generations is served by immersing a young modern woman in the atmosphere of the early 1940s - she is in an apartment that has become a kind of "time capsule" and studies the diaries of the deceased [1]. Returning to the "City of the Worlds", it should be noted that the main roles are divided into three age "segments", which are played by different actors. Like the legend about the riddle of the Sphinx, the audience is presented with the allegories of Youth, Maturity and Old Age, whose world view is sometimes different.


It should also be noted the game of Eugene Chernyakhovsky, who plays the role of Grandpa Yasha - the wife of Sophia Mikhailovna. His character, being an auxiliary, nevertheless, extremely accurately illustrates the character of Sophia Mikhailovna, the highest value for which was the family. Deprivation and fear, transferred by her for the sake of love, reveal the depth of her feelings towards Yasha, sacrifice, will power. Eugene Chernyakhovsky interprets his role lyrically, concentrating on the relationship between husband and wife, as well as between father and daughter. By the lips of his hero in everything supports the spouse, trying to make her life as comfortable as possible. He opposes her traveling by tram, considering them too tiring. This is the fundamental difference in the world perception of the characters - unlike Sophia Mikhailovna, he does not pay so much attention to the aesthetic aspects of the life of the people of Kiev, taking care more about comfort. It is not surprising - after all, he worked for many years "in a jobless position," where a ruthless Soviet social machine hone pragmatism, depriving individuals of the desire for a better life.

The play pays a lot of attention to children's characters, whose world attitudes show absolutely different aspects of life. The roles of Alexander and Sofochka in childhood are performed by Viter Kondriyatenko and Luna Cherepanova, who, with their childish spontaneity and emotion, show the audience moments of the formation of the characters of future protagonists.

Separate attention should be paid to historical facts and everyday details given in the play. It is worth noting the meticulousness of Sergei Cherepanov in describing the fashion trends of the mid-twentieth century, which literally filled the minds of Kiev women. After all, visits to tailors, dressmakers, hairdressers and makeup artists were an integral part of the life of every self-respecting Kiev woman, but at the same time, represented a kind of competition in which the prize was not just to look better than everyone else, but in general, to get to that master, To which "do not get caught!". The author formulated the dedication of the play as follows:


"Grandmothers and grandfathers, as well as grandchildren are consecrated. If you are a Kievite with experience, if you like to look at Kiev from the left bank at sunset, if you are able to move, passing by the Lavra, if you believe that as a child you can return by tram, then this story is about you! "

Of great importance in this performance is the decoration - the scenery created by Oksana Zdor, collects in a small scenic space various aspects of contemplation of Kiev - interiors and exteriors of premises, city landscapes, stylized clouds. In some mise-en-scenes the actors apply the play scenery, conditioned by the text of the play: a poplar branch that burst into the kitchen and felled by Sofya Mikhailovna; Chairs, arranged in different orders, change the associative perception of the mise-en-scène - the tram car is replaced by a yard shop and a living room sofa, etc. The flats of the grandmother and grandson are depicted by drawing lines on white screens, caricature embodying the Soviet way of life. A small podium in the center of the stage serves as a kind of "portal" through space and time: through it the heroes' memories are embodied - their young hypostases and characters from the past appear. The podium serves as a place for the transformation of actors from one character to another, so a small theater team performs a large number of roles in the play.

Kiev is changing before the eyes of the audience not only externally, but also spiritually. One generation grows old, the other grows and blossoms. Gradually, patrons of cozy yards, passengers of transport, fashionable rituals that are familiar to pristine Kyivans are disappearing ... The city is expanding, the infrastructure and transport network are changing. Most passengers do not have time for many hours of tram travel, they are replaced by a faster metro. The audience will recognize their modernity, which appears in a caricature, hypertrophied form. But for the heroes of the play, the time has stopped at a certain point - that period of life when they were particularly happy. They make you think about the happiest days, hours and minutes of everyone present.


The play teaches viewers to find joy and creative expression in all aspects of everyday life, as well as to love and be loved in all human ages.
Literature:


  1. Триколенко С. Камерний театр Києва: прем’єри – 2013 [Електронний ресурс] / Софія Триколенко // Мистецькі грані. – 2013. – Режим доступу до ресурсу: http://er.nau.edu.ua:8080/handle/NAU/11446.


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Document information

Author         : Sofia Trykolenko
Title          : By tram - in childhood
Branch         : Visual Art
Area           : Other
Subject        : Conceptual art
Submitted on   : Jun 09, 2017, 01:21:38
Description    : This article is a review of the production of Yuri Rayevsky "City of the Worlds, or two trams" based on the play by Sergei Cherepanov, performed in Kiev in April 2017. The performance of the theater "Rainbow" demonstrates the features of human perception of the surrounding world in different age periods, for example, for three generations reveals the whirlpool of city life.



Address

First Name     : Sofia
Last Name      : Trykolenko
City Name      : kyiv

Country        : ukraine



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