Do not part with your loved ones. Theatrical poster - reviews of the play. On a sober head

JUDGE. Lavrova, do you support your husband's claim for divorce?

KATE. No.

JUDGE. And you, Lavrov, have not changed your mind?

MITYA. Didn't change.

JUDGE. Lavrov, have you ever wondered what love, family means for a person?

MITYA. Didn't think.

JUDGE. This is no longer frivolity, but some kind of cynicism, a disregard for life. Yes, not only to their own, but to the life of their future children, the future generation. Have you ever thought that you might have children?

MITYA. No.

JUDGE. And you should have thought. Lavrov, tell the court what happened there? What is the main reason?

MITYA. Dissimilarity of characters.

JUDGE. This is a common phrase.

MITYA. Impossibility to create a family. There is nothing in common.

JUDGE. He drinks?

KATE. Not really. Actually, he doesn't drink.

JUDGE. Did he beat you?

KATE. What?..

JUDGE. Lavrova, why do you think your husband insists on a divorce?

KATE. He thinks I cheated on him.

JUDGE. Does he think right?

KATE. It does not matter.

JUDGE. How does it not matter? Did you change him or not?

KATE. I refuse to answer this question.

JUDGE. Your right. But keep in mind that you are doing this to your own detriment. Maybe we can postpone the issue?

MITYA. For me, the issue is finally resolved. The family will not be here. Let's go right away.

Irina and Mitya

IRINA. And I kept thinking: call or not call? If you knew what happened to me yesterday. When everyone was sitting and laughing, and you got up and left, I also got up and followed you mechanically. Then she got up and came back. And I said to myself: “What a disgusting thing, I left and didn’t say goodbye.”

MITYA. Why did you say so? It's like we didn't say hello?

IRINA. And I said. And then it turned out that you hadn't left yet. I completely lost my mind then. And you suddenly say: “Just don’t leave. I'm always the last to leave."

MITYA. All the engineers there were highly educated. So you know everyone from the factory ...

IRINA. Didn't you notice that half of them were fools? One was smart in the corner, so it would be better if he was a fool too.

Divorce case

JUDGE. Last time your case was adjourned, you were given time to reconcile. Respondent, stand up. Have you tried to restore good relations?

KOZLOV. She's gone to her mother's, and I'm not allowed to go there.

KOZLOV. Basically, of course.

JUDGE. Do you love your wife?

KOZLOV. Yes very.

JUDGE. And you, the plaintiff, stand up. Do you love your husband?

KOZLOV. I love.

KOZLOV. Of course. We have a wonderful child.

JUDGE. You have a child. How many years?

KOZLOV. Two years.

JUDGE. The child is two years old. See?

KOZLOV. But with such a husband, it is simply impossible. He has a distorted view of me.

KOZLOV. My wife's opinion of me is the same.

God, how embarrassing...

KOZLOV. Let's not now.

KOZLOV. Okay, let's not.

JUDGE. When did your troubles start? Why?

KOZLOV. There are many reasons. I even do not know. There was no border, gradually. He never picked me up from work. He began to behave impudently, wake me up, sort things out.

JUDGE. He's studying in the evening, isn't he?

KOZLOVA ( turning to her husband). Others, for some reason, return from there on time.

KOZLOV. That's how it is with her. Someone said call. Turns out he didn't call at all.

KOZLOV. They called!

KOZLOV. Once I was late for forty minutes with a group of my ...

KOZLOV. I'm worried about him. I'm waiting, I'm shaking all over, when it comes, I'm crying. And he prefers to remain silent. But somehow I can’t teach him a lesson, not to talk, for example, for a week.

JUDGE. What do you say, defendant?

KOZLOV. I think we should live normally. One time came late - she scratched! I warned you: I'll be late all the time. Constantly suspects - I do not believe you. It pissed me off. There was once a reason. So I have drawn my conclusions. I applied and didn't even expect it. To court and that's it!

JUDGE. Is there anything you can do to fix the situation?

KOZLOV. Apparently, we are not suitable for each other. Different points of view on literally everything. Scandals.

JUDGE. So what? No people are all the same. It would be unbearably boring.

Mitya

Mitya rang the doorbell. The fitter opened it for him.

MONTER. Everyone is asleep, back off.

Mitya went into the room. She was covered with photographs.

Are you drunk?

MITYA. Didn't drink yours.

The photographs were very different: some were artistic, others funny, and there were some nudity.

Your job?

MONTER. Well mine.

Mitya ( I saw among other photos and the head of my wife). Who do I see! Spouse. Why are you so modest about her?

The fitter took a closer look, assessing the quality of the photo. Mitya misunderstood this too. Swung. The mechanic dodged.

MONTER. What are you doing to me! ( Went to Mitya.) Get the hell out of here, you cretin!

Mitya took a chisel from the table.

Yep, crafty. Nothing, we'll do it skillfully.

But he was already at the table. As if playing, the fitter began to push the table at Mitya. There was a rasp on the table. Mitya grabbed him.

MONTER. Well, you drop it. This is a cold weapon.

Mitya threw the rasp. The fitter rolled up his sleeve and looked.

So. Now wait for the agenda. There is an article for inflicting damage with melee weapons.

Houses

It would be foolish not to talk to each other. While they live in the same apartment, it is necessary to maintain normal relations. Now their relationship is better than before, now they are perfectly normal.

Mitya is reading a book. Katya reads the magazine "Youth", bites a bun.

KATE. Isn't it dark for you?

MITYA. No, everything is okay.

KATE. It's okay, you can't see anything.

MITYA. Why, I see everything.

KATE. Maybe turn up the lamp?

Mitya got up.

You don't understand, I don't need it. I want you to be more comfortable.

They read silently for a while.

MITYA. Are you eating dry bread? Take it, I have sausage, there is butter.

KATE. Why, I can go to the "Gastronom" myself.

MITYA. Why go when everything is there. Funny. Well, buy me fifty grams of sausage tomorrow.

The phone rang.

KATE. Yes? Now. You.

Mitya got up from the cot and picked up the receiver. It was Irina.

IRINA. And now I've decided to call you. Nothing?

MITYA. Nothing.

IRINA ( mimicked). Nothing. Well, let's be content with that. And today I had to leave for Ukraine. I've been on vacation for two days now! I decided not to go.

MITYA. Well, why is that.

IRINA. Are you uncomfortable talking?

MITYA. I'll call back.

IRINA. Then I'm sorry.

They rang the doorbell. Katya went to open it. She returned with an elderly woman.

FEMALE. I'm on the ad.

KATE. What ad?

MITYA. This is the announcement I made. About changing rooms. I'm sorry I didn't have time to tell you, but sooner or later you have to leave. Remember, everything will depend only on you. If you like. I personally agree to anything.

KATE ( woman). Come in, please sit down.

FEMALE. Is this your apartment?

KATE. There's a kitchen.

FEMALE. I'm afraid my answer won't work for you. We do not have separate rooms in different districts, but one large one, thirty meters, but separated by a capital partition. Actually two rooms. The partition is almost capital and almost soundproof.

MITYA. What does almost mean?

FEMALE. Almost nothing is heard. The fact is that my sister and I installed this partition ourselves. We decided this: a person should have a place where he can rest, where he will be alone. And indeed, as soon as we put up the partition, I became a man. I can go to visit at any moment, but when I return, I am alone.

MITYA. Then why are you coming?

FEMALE. The fact is that my life has developed in such a way that there is no family. So now my family is basically my sister. And here, it would seem, a trifle - a partition. But that means a separate entrance, a separate household. Cups there, spoons there. I didn't expect it to be so sad...

MITYA. Why do you want to change apartments? It's easier to break the partition, and there will be one room.

FEMALE. The fact of the matter is that it is impossible to eliminate this partition. This requires special permission, but we are not given it. It turns out that when we put up a partition, we had to take permission for this. But we did not think and did not take. And that means now they can't give permission to take it off.

KATE. Why can't they?

FEMALE. This is just understandable. How can they give permission to remove a partition that they did not allow to put up! I had no right to do so! And now we have to go to the inspector. But the inspector still won't allow it.

KATE. Why go if you still won't let me?

FEMALE. And then that I should get rejected.

KATE. Why should you be denied?

FEMALE. And then, that when I get a refusal, I can apply further.

KATE. Can't you explain to them?

FEMALE. What can I explain when I myself am to blame!

KATE. Here also explain, that you are guilty.

FEMALE. They themselves explain to me that I myself am to blame.

KATE. And now you are asking for help.

FEMALE. And why would they help me if I committed a violation!

MITYA. That you, by God, are making a problem out of nonsense. Do you want me to come on Sunday and break this partition for you?

FEMALE ( laughs). How do you break it, it's almost capital!

MITYA. Breaking is not building.

FEMALE ( laughs). Where are the logs? Here are the logs!

MITYA. Logs in the yard.

FEMALE ( laughs). But they will clutter everything up there!

MITYA. If they don't, someone will take them away.

FEMALE. Where will it take?

MITYA. Put up a barrier.

FEMALE ( excitedly). And what, it is quite possible ... Take break. Demolish and all. And indeed, someone will take and put up a partition at home. Beautiful oak... Here you have a more serious problem. Exchanging for two rooms in different areas is not easy now. I don't ask why you're leaving...

There was no answer, but the woman did not want to leave.

What to do, this is life. Meetings first. Every day, then a meeting ... Then - parting. Years go by... With one person, with another person. It would be nice with strangers - with friends! Welcome with friends - with loved ones! It would seem, why part with loved ones? In order to later part with everyone together? .. Well, sorry for the trouble.

KATE. Goodbye…

The woman left.

You could also consult with me. He gave an announcement. And how many ads did he write?

MITYA. Many.

KATE. And where to paste - indicated?

MITYA. pointed out.

KATE. Did you unpack everything or are there still left?

MITYA. Still left.

KATE. Maybe we can go hang out together?

MITYA. It is possible together.

KATE. Blowing bubbles, pretending to be calm.

MITYA. What to worry about.

KATE. Well business. Well broker. If he had shown his efficiency earlier, they would have received a two-room apartment.

MITYA. What a businessman I am. Your friend, this amateur photographer, that's who the businessman is.

KATE. Who gave you the right to talk about him like that? What did he do wrong to you?

MITYA. I divorced my wife because of him.

KATE. You divorced yourself.

MITYA. Who spent the night where? I? Or you? Did you think it was time to go home?

KATE. I kept thinking: what time is it? Twelve already! And then I think: why am I shaking? No one is shaking, but I'm shaking.

MITYA. I know nothing. My wife doesn't sleep at home. Gives me horns.

KATE. What horns?

MITYA. Branched. What should I think of my wife?

KATE. What are you supposed to think if she is your wife and you love her?

MITYA. That's love - it's not necessary.

KATE. Modern man! The way you act like a girl. Everyone stayed and so did I.

MITYA. All this is all. And you are a wife.

KATE. And the wife is, then, a cage? Mine, right?

MITYA. So it was a cage for you. What didn't you say before? I would let you out, fly!

KATE. Man! I would take it in the face. Hold! If you are a husband, educate. And then once - he took me to court.

MITYA. Be quiet. If you say another word, I'll shoot something. On the head on your bullet!

KATE. Previously, you had to shoot. Now I'm nobody to you.

MITYA. You wanted it.

KATE. I didn't want it.

MITYA. Why? Wanted. What she fought for, she ran into. Now you are a free woman, I am a free man. Everyone is fine.

KATE. Why did you get married then?

MITYA. Fool was. And all the fools who get married. Write the letter D on everyone's forehead, and let them look at themselves in the mirror.

KATE. Now I'll take it and leave.

MITYA. Go.

KATE. Look, I'm coming.

MITYA. Go, go. You just forgot things.

Katya began to collect things in her bag.

So are you going?

KATE. Going to.

Mitya took the bag from her.

Don't touch me with your hands!

MITYA. No, let's talk. Why exactly are you leaving? This is your apartment, stay. There is your tablecloth, grandmother gave it to you. Here is your everything. And I'll go to Slavka. Where is my underwear, where is my shirt? There is nothing. You see what a good hostess you are!

KATE. No, you stay. I've already given you the phone number, they're already calling you. Also on exchange?

MITYA. A friend called.

KATE. And any of you will leave. And your friend will leave. Let it go.

Mitya ran out of the room and slammed the door on the other side.

Katya pulled the handle, shouted:

Let me in!

MITYA. Sit. I'll leave.

KATE. You will leave and I will leave. Leave the door open, let them steal.

Mitya entered the room, threw Katya onto the couch. She started crying.

Divorce case

JUDGE. Surname?

LARIS ( young, school chubby). Kerilashvili.

JUDGE. Education?

LARIS. Eight classes.

JUDGE. Have you been married before?

LARIS. With Yuri Tsvetkov.

JUDGE. The reason for the dissolution of this marriage?

LARIS. He does not work, does not study and does not give me. He humiliated me in every possible way, we lived badly. He said that I was a prostitute, that he bought me for three rubles. Is it possible so? Then all these insults, which I did not deserve at all ...

JUDGE. The husband writes in his explanation that you are going back to your first husband.

LARIS. He just heard a telephone conversation and built all sorts of nonsense on it.

JUDGE. David Kerilashvili, stand up. Do you support your wife's divorce suit?

KERIlashvili. I don't agree with her reasons. Here the reasons are completely different.

He is small, in a beautiful beige jacket. Pleasant, also immature, face.

JUDGE. Why don't you work?

KERIlashvili. I work, but at home. For health.

JUDGE. Why are you so sick?

KERIlashvili. I was in a cast for fourteen years, I had tuberculosis. Citizens of the judge, understand one thing, she is not such a bad girl. Comrade judges, I loved her and love her now.

JUDGE. Why didn't you let her study?

KERIlashvili. Citizens of the judge, she told you a lie, but she is not guilty. Here sits her mother. Larisa says all her words. She told her daughter this: let his parents build you a cooperative apartment. She thinks Georgians are rich. But Georgians are different, there are rich, there are poor. And if there is no apartment, then she does not need me!

JUDGE. Plaintiff, is he telling the truth?

LARIS. In fact, he doesn't love me.

JUDGE. But he claims to love you.

LARIS. No, he doesn't love me.

KERIlashvili. No, I do, and you know it!

LARIS. No, I do not know.

KERIlashvili. You know through my calls that I called you!

JUDGE. Kerilashvili, why do you think that your wife wants to return to her first husband?

KERIlashvili. She herself does not want to return. She is a decent girl. It's all her mother. And then there will be three unfortunate people.

MOTHER. Will not! She loves Yuri Tsvetkov. She left him out of frivolity - and now she is returning. At least there won't be any lies. And Kerilashvili, his parents, promised before the wedding: we will buy you a cooperative.

JUDGE ( interrupted her). If you don't know how to behave in court, leave the hall.

LARIS. If he loved me, at least something came up! Why do we have to live together!..

KERIlashvili. Fellow Judges! But I don't blame my wife for anything. She doesn't speak her own words. She doesn't think so. If Larisa has three hearts - one for her first husband, another for me, and a third for someone else ... In my opinion, a person should have one and only heart! Comrade judges, I want to make an addition.

JUDGE. Please.

KERIlashvili. Comrade judges, I ask you to grant her request. Let her have good husband. Let her have a good co-op. Let her have everything! And let there be happiness!

JUDGE. The court retires for deliberation.

Kerilashvili and Larisa stood and talked quietly, Larisa's mother silently looked at them, then could not stand it:

Well, as much as possible! Two-faced! Two-faced!

But they stood, not listening to her.

LARIS. Go mom.

MOTHER. Two-faced!

LARIS. Go away!

Mitya and Irina

MITYA. Girl let me introduce you.

IRINA ( turned around, happily and gently exclaimed). I allow! I really want to get to know you!

MITYA. But I've been here for a long time. I took others for you twice.

IRINA. Were they better than me?

MITYA. Not yet.

IRINA ( sad). You are some kind of nerd. You don't know what you want. And girls walk and run around and bother with something ... And this is wrong, not good, disrespectful, insulting, unfair ... This morning I was afraid that I love you less. And then at four o'clock it suddenly became so sad for you!

Mitya took her hand and stroked it.

Do not dare. My heart is jumping right now.

MITYA. Let's go to my place.

She raised her head to him, peered, nodded.

At home, Mitya turned on the TV, asked:

Do you want tea?

IRINA. Don't leave, stay here.

He sat down.

In my opinion, you are not only afraid to believe that I love you. You're still afraid to believe that you love me too. I don't require anything from you. If you want, we will be friends, like at school. If you want, we will be like abroad. I'm your girlfriend. Like this. ( Mitya sat on her knees and wrapped herself around him.)

MITYA. I want so.

Knocked the door. They pulled away from each other and turned around. It was Katya. She looked at Irina. She didn't look away.

KATE. I'm sorry, I didn't know you weren't alone. I forgot something here.

She began to search, pulled out drawers, opened cabinet doors.

Mitya and Irina sat down on two chairs in front of the TV. We looked without seeing.

KATE ( found a sweater, folded). There will be letters, bring them to the hostel.

And she left.

Mitya and Irina were sitting in front of the TV, as in the case of Katya, separately. But something brought them together.

Divorce case

JUDGE. Reason for divorce?

NIKULIN. Character incompatibility.

JUDGE. How many years have you been married?

NIKULIN. Twenty four years old.

JUDGE. Twenty four years old. What happened to you now?

NIKULIN. We came to the conclusion that there is no real feeling between us.

JUDGE. What are your complaints about your wife?

NIKULIN. No complaints.

JUDGE. Where then is your incompatibility? What is it?

NIKULIN. Comrade Judge, this is a difficult question. Psychologists write books about this.

JUDGE. Do you have a son?

NIKULINA. This is my son. Her husband adopted him.

JUDGE. Does your father have a normal relationship with him?

NIKULINA. Miraculous.

JUDGE. Everyone has a wonderful relationship, but what happens ... Nikulina, do you agree to a divorce?

NIKULINA. Agree.

JUDGE. Agree. And then you will bite your elbows. They lived together for a whole life, and now you are left alone ... I don’t know, there are no grounds for a divorce.

NIKULIN. Why not? I have given the reason.

JUDGE. This is not the reason. This is an excuse.

NIKULIN. Okay, we wanted to skip the details, but if you need it, please. I met a woman with whom we had a strong feeling many years ago ... We realized that we still love each other.

JUDGE. This is a different conversation. We met a woman. You say that you used to have a strong feeling. What stopped you from getting married?

NIKULIN. There was a war, we could not get married. When I returned from the front, she was married.

JUDGE. Did you get married when you were at the front?

NIKULIN. Yes, I got married when I was at the front. That's how the circumstances came about. After the war, I married my current wife. We have known each other since childhood. At that time she lived alone, had a child of two years. She was unhappy...

JUDGE. So ... And now you have met your friend. When did it happen?

NIKULIN. About a year ago. She also filed for divorce. She has no children.

JUDGE. So the two families are falling apart. But is it worth it?.. How will your life with your friend - no one knows, neither you nor her. Let's wait anyway. Let's postpone the issue.

NIKULINA. Comrade Judge, I do not know how to formulate this for a court decision, but I ask you to satisfy the claim. The fact is that we have been living in the same house for a year now as strangers. I can't see a man, every day, see my husband who loves another woman. For my sake, please! Solve it now if you can.

Katya and Mitya

MITYA. Letters to you.

KATE. Thank you for bringing.

MITYA. How is it going?

KATE. Fine. And you know, I'm happy for you. Irina Grigorievna is a very good girl.

MITYA. What is Irina Grigorievna?

KATE. Ah, already Ira? I did not know. I hope you're all right?

MITYA. Everything is fine.

KATE. I think she is very sensual.

MITYA. Maybe.

KATE. I really wish you happiness with her.

MITYA. Thanks.

KATE. So, are you all set?

MITYA. Not yet.

KATE. But it will be decided soon.

MITYA. May be.

KATE. No, I'm glad it's her. First, you are very suitable for each other. Secondly, she really loves you. That's the main thing. And in general - a thin, original, intelligent girl. Honestly, I'm glad. A little nervous. At first this is good, but in home life - not always. And she would have more pride. You never have to be funny.

MITYA. Why is she funny?

KATE. I'm sorry... She didn't ask anything about me?

MITYA. No.

KATE. Did she say anything?

MITYA. No.

KATE. Proves her mind. Also a plus ... But you know, Mitya, maybe this is some kind of relic, an atavism - but you better stay out of my sight with her.

MITYA. And what?

KATE. I'm afraid I'll strangle her.

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The performance is definitely worth watching, especially on the verge of making important decisions. Don't part with your loved ones! With all your blood sprout in them, - And every time say goodbye forever! When you leave for a moment! © Once upon a time there was a young family ... But one day the wife was delayed, and the husband began to be jealous. Suspect. Do not believe. And there was no family. And you can do this: once upon a time there was a young family. They were happy, they had a wonderful child, but life ... And there was no family ... And it also happens like this: there was a young family ... They had a charming son. They lived in harmony for 24 years, and then the husband met his first love ... And there was no family ... Or: there was a young family. But the mother-in-law interfered in her daughter's life in such a way that the girl, who could not get out of the influence of her mother, files for divorce. And there was no family ... For the judge, performed by Victoria Verberg, these stories have become a routine. She wearily interrogates spouses who want to get a divorce according to the template and does not even really try to reconcile. It would seem, well, a drop of attention, and you see, the Lavrovs would not have divorced (the first story). The story of Katya and Mitya (Sofia Slivina and Anton Korshunov) develops against the backdrop of other family dramas. Spouses' failure loving friend friend, find mutual language, leads to the fact that the ex-spouses will finally reconcile only when Katya, exhausted by feelings and love for Mitya, goes to the hospital, after shouting: "I miss you, Mitya!" Only then will he forget all suspicions. Throughout the performance, Anton Korshunov shows the rushing Mitya, tormented by suspicions, but who is drawn to his ex-wife. The hero of the whole performance sometimes evokes sympathy, sometimes bewilderment, sometimes even indignation. The Kozlovs ... (Natalya Zlatova and Konstantin Elchaninov) also love each other. But tired of everyday life, they decide to break up their lives and disperse. Kerilashvili. Another story about how dangerous it is to interfere in the lives of children. And the moment when, after the verdict of the judge, Alena (Ilona Borisova) pushes her mother away and hugs her husband, is very significant. Nikulin. The husband decided to go to his first love after 24 years of marriage! And his wife loves him and asks the judge: "For my sake, divorce!" She loves him, but lets go out of love. And against the background of these stories, we see life after the divorce of Katya and Mitya. The performance aroused mixed feelings. But for me, this production is one of those that have an aftertaste. When you remember, you draw parallels with familiar stories. Makes me think. And one of the sisters who came to the Lavrovs about the exchange is right, that you can’t constantly exchange your life, you can’t let go of your loved ones. Because you can be alone. And Mitya does not understand this yet. We can only speculate: what is behind such decisions? Selfishness or fatigue? Love or immaturity?

Yergey Afanasyev with the play by Alexander Volodin, written in the seventies of the last century, established his correct distance. For the director, this dramaturgy does not belong to history, but for the young people who play in the play, the time of the play is a distant past, an era that was not experienced by them.

For young generations, the time of the seventies provokes playing retro, for the older part of the troupe it is an unforgotten, lived life, which it is difficult for them to play aloof. It's one thing when you yourself wore platforms and crimples, and another thing when your child takes out what was fashionable from your chest. This is how fathers and sons meet in Afanasiev's play to play a play about their fathers and grandfathers, but also about themselves. The director went to the extent of meeting both those and others.

“Do not part with your loved ones” is almost a slogan that should have been hanging in the Soviet registry office (the author of the lines is the poet A. S. Kochetkov). Volodin wrote the play about just the opposite: about how they get divorced and parted. And another question, is it not necessary, otherwise, to leave. Eight couples in this play go through divorce proceedings. In a series of semi-funny, semi-sad scenes of the genre, one story of a young couple fully written by the playwright, who is going through a separation on the verge of despair, is wedged. These are Katya (Anna Ermolovich) and Mitya (Pyotr Shulikov) who have been given the right to drama. Only they experience true love in this play. All the rest are getting divorced because they had the imprudence to register.

Just now, these two were happy, but suddenly jealousy, resentment, and, you see, the young are already rapidly divorcing, while continuing to love and torment each other. And as a result, in the play - Mitya is on trial, and she - with a nervous breakdown in the hospital. Katya in the performance is played by a very young actress, besides, in terms of texture, not even a girl - a teenager, but a birdie, baby. And in this sparrow rages despair. In a hospital bed, she utters such a heart-rending cry, in which one hears not just the pain of loss, but the cry of a person who is dying. Parting is dying. It seems that her physics is not commensurate with what she has to endure.

This play is also staged by the director in order to tell about a private provincial man. The scene of action is the station, trains rush past all the time, leaving at the station people who seemed to want to break away somewhere, leave, but live here the life of the suburbs to the songs of Maya Kristallinskaya, alternating with advertisements for the sale of beer. In the performance, everything is a station: a registry office, a hospital, a dance floor, and a private apartment.

A kaleidoscope of homeless destinies flashes by: even the Judge (Lyubov Dmitrienko) is in this row. Appearing so Soviet, in a black, party costume, confident in simple truths, one day she is still horrified by the world that she sees every day. In a short scene, the actress plays her whole fate, all her disappointment. And you understand that she herself is probably alone, she sat in an unfortunate court and did not see any happiness. Suddenly she realizes her own impotence and the senselessness of her government efforts, backs away from divorce obsessions, realizing that she will never reconcile, save, or help anyone. Why, to whom her life-long sacrifice was made...

Sergei Novikov plays Mironov, who came drunk to court. A quiet little man, secretly from his wife, passes a glass one after another, and somehow imperceptibly becomes "warm" for himself. In court, he collects the remnants of his will into a fist, with difficulty keeping his balance. And under his usual womanish, shrill lamentations of his wife (Irina Efimova), he still, if not firmly, but stands on his feet and keeps his most important task. The main thing is to make a positive impression on the Judge. That is why he wants to express himself pompously, almost majestically. And suddenly he feels sorry for him. Get away from him, you stupid woman. He sips so that the unbearable life becomes a little more joyful for him in this half-station forgotten by the world.

In this territory of love, there are characters who simply fell out of time. The woman is played by Zoya Terekhova. She is an epic creature. It is she who reads Volodin's poems about a woman, about parting. It is with her that the theme of death, eternity enters the performance. In a ridiculous hat, with a handbag pressed to her chest, as if someone is about to take it away, she goes from apartment to apartment without any chance of success to reconcile the divorced. But suddenly, from an impoverished intellectual, accustomed to being chased from everywhere, she turns into a woman with a destiny. The drama of Katya and Mitya does not escape her eyes, and when she comes out of the depths to the fore to read poetry, poetry breaks out like a thunderstorm: we must, we must be able to love because we will all die. And at the coffin entrance, will we be alone or will we still remember how we were loved?

The performance is continually interrupted by episodes of mass joy, seemingly unmotivated from the point of view of the play. In Afanasiev's performances, actors always find a reason to sing. In the choir, everyone tries too hard, some of the extras pull the blanket over themselves with very naive tricks. But they sing - they are small, unfortunate people.

And just these directorial inserts do their job, telling, oddly enough, the scale of the play, enlarging it. No, this is not a chamber story about divorces and unhappy marriages. This performance is about lost in space, abandoned destinies, unfortunate, poor, hard-living people, whose soul yearns for the holidays.

Couples dance to French chanson on the dance floor. But in these couples, the woman leads the woman. The voice of Salvador Adamo subsides in the wheelhouse. Apparently they forgot to change the record. And female couples continue to move to the beat. And the melody of these rustling steps of lonely women, the white dance is our Russian snow chanson.

RG, October 23, 2013

Alena Karas

I miss you

An old play by Alexander Volodin was staged in the capital's Youth Theater

Henrietta Yanovskaya staged a new performance "Don't part with your loved ones" in memory of love. In memory - to say wrong, rather - in remembrance, in strict and heartfelt remembrance of her vulnerability and fragility. About her pain.

She opened the old play by Alexander Volodin with a completely different key, sentimentally sweet and melodramatic, with which it is often opened. She let in so much pain and cruel, sometimes bloody truth about the nature of love, that every now and then echoes of a completely different author are heard in her. In the small, almost documentary fragments of the divorce proceedings used in the play, in the entire expressive structure of the performance, nervous and open to pain, traces of Dostoevsky, the author who was studied in such detail by another director of the Moscow Theatre, concurrently the husband of Yanovskaya, Kama Ginkas, are clearly revealed.

In the way Yanovskaya (together with her constant co-author Sergei Barkhin) decides the space and time of the performance, the themes, motives and situations of the director's other performances are collected. The emotional openness of a woman, whose feelings can push her to the brink of insanity - this is how young Katya Sofia Slivina plays - suddenly reminds us of completely different characters of the Yanovskaya theater: Katerina Yulia Svezhakova from "Thunderstorm", or the heroines of "A Streetcar Named Desire" who are in a borderline state. Divorce Katya and Mitya Lavrov do not seem to Yanovskaya something trifling, like all other stories of the play Katya Sofia Slivina - a young wife whose harmonious world collapsed overnight from stupid suspicions of treason - trembles like a tear frozen in the pupil, as the string is stretched to the limit - on the verge of despair, madness, suicide. The ability of the young actress to plastically and psychologically accurately play a borderline state, without falling into banality anywhere, is amazing. Her story to Mitya about an accident on the road, about a woman's scream, which all sounded and sounded in her ears , becomes the line beyond which a breakdown is possible. , devoid of emotions, as if frozen in a cheerful look, an inopportune grin - a reaction of pain postponed to infinity - in the way Sofia Slivina plays a breakdown, one can feel the strong, magnetic talent of the actress and the brilliant analysis of the director. Evgeny Volotsky, who plays her young husband Mitya Lavrov, also "crumpled", "tongue-tied" and restrainedly shows the most complex psychological reactions.

We see the same image of mental pain curled up inside, a trembling of a life that did not take place or was postponed for an indefinite future, a repressed biography, we see in almost all the "couples" that pass through Yanovskaya's performance. Here are two sisters eccentrically entering the "room" of Katya and Mitya to agree on the exchange of an apartment: Ekaterina Kirchak leads her older sister by the hand - like a child, like a lover, like a mother. In her duet with Tatyana Kanaeva - and almost circus eccentric, clowning, and the ultimate, hysterical psychological drawing. It doesn't matter which "two" form a union, there will always be a lot of painful, bloody and unconscious in it. Any union is a projection of our illusions, myths, complexes and imperfections. Taking her little older sister by the hand (isn't it the same one that once appeared in the play of the same name?), the heroine of Ekaterina Kirchak leaves their "apartments" with a strange expression on her face - calm and proud, with the acquisition of new knowledge and new pain: no another life, there is no other love than that which is already given to you.

All the little stories and sketches of Yanovskaya's performance are devoted to the acquisition of this new, "wise" knowledge. In the story of the Nikulins, an intelligent elderly man (Vyacheslav Platonov) and his selfless wife (Natalya Korchagina) act on the same principle of complex truth about people's relationships: letting her husband go to a sudden old lover he met, giving him the right to realize his own myth, to embody his illusion, she (like him) is tragically aware of the doom of this new union, but does not dare to interfere with it. It is also arranged family history"intelligent drunkard" Shumilov and his wife with many children. In the brilliant comic duet of Ekaterina Aleksandrushkina and Oleg Rebrov, we follow the unbearably "Dostoevsky", indissoluble bond ("has we been given a habit from above"?): the drunkard-husband has long become a part of her mother's "body", almost adopted, and begotten by her - her affection, forgiveness and ... love.

But in addition to these "unions" disintegrating before our eyes, there are also lonely wandering women in Yanovskaya's performance - so often appearing in Volodin's dramaturgy. The main one is Judge Victoria Verberg, strict, tired and unbearably lonely. Her detached, formal intonations ("blue stocking") we hear the whole volume of her loneliness. But here, too, the actress and director do not allow themselves any sentimental tearfulness. She, too, will have to scream and cry her scary story late insight, the history of repeatedly and stubbornly rejected feelings, the history of disbelief in the possibility of happiness, the history of their own inexhaustible complexes.

There are neither young nor old in the Yanovskaya Theater - everyone here turns out to be children, painfully overcoming their infantilism, sometimes at the very death line. Wandering around the stage like the ghost of an old play, Agafya Tikhonovna (Oksana Lagutina) tells everything and tells how good the man who jumped out the window was, how she cannot forget him, despite her marriage. She wanders as a ghost of unembodied feelings, a ghost of unembodied love, a ghost of madness, forever threatening a woman on the verge of a nervous breakdown.

In the space of Sergei Barkhin - just as freely as in the stage text of Yanovskaya - old and new things appear, fragments of other people's apartments and trampled destinies, there chairs hang on the walls, and windows suddenly open. The city is noisy, pushing in their space, and its confused and barely distinguishable voices in the bustle merge into one groan: "I miss you."

Vedomosti, October 24, 2013

Gleb Sitkovsky

Having gone crazy

"Do not part with your loved ones" in the Moscow Youth Theater

The performance of the Moscow Youth Theater "Do not part with your loved ones" became one of the best in the director's biography of Henrietta Yanovskaya

The play by Alexander Volodin "Do not part with your loved ones" has a so-so fate. Yes, in the late 1970s there was an average but tolerable melodrama by Pavel Arsenov with Abdulov and Alferova. Yes, there was an unforgettable, as St. Petersburg residents recall, the cry of Larisa Malevannaya “I miss you, Mitya!” in the finale of the play Oporkov (1972) at the Leningrad Theater of Lenin Komsomol. The other productions of this ingenuous melodrama, of which there were quite a few, were, as a rule, not very successful.

Volodin made up a story about an endless series of marriages that end in divorces, which, in turn, sometimes turn into new marriages. And, of course, the most serious danger for a director grabbing onto this material is that his performance will start to look like a cutesy question in a girl's album: "Do you believe in love?"

In the director Yanovskaya, what is now, what was before a penny of affectation, and the endless pipeline of divorce cases, on which a tired woman judge (Victoria Verberg) works, she turns into frank buffoonery against the backdrop of Sergei Barkhin's defiantly picturesque scenery. Yanovskaya slowly crowds out the so-called bright lyricism inherent in Volodin's plays, and greatly enhances the everyday absurdity contained in them. Every joke that you can only laugh at while reading a play causes Homeric laughter here, and the performance itself turns into a chain of pop numbers.

“Everyone has gone crazy,” says the comrade judge, looking with amazement at what quarrels grow out of, leading to a divorce. From a series of divorce cases, a separate storyline of Mitya (Evgeny Volotsky) and Katya (Sofia Slivina) gradually stands out. Gogol's Agafya Tikhonovna (Oksana Lagutina) unexpectedly joins the general round dance of divorcees and divorcees, recalling her Ivan Kuzmich with a quiet kind word, who seemed to love her, and then suddenly take it out the window and jump out. It looks like it's impossible to be married, but it's impossible to be alone either.

But does this apply to the same marriage? Yanovskaya brings to the stage a comic couple of middle-aged sisters from Volodin's one-act film "Partition". They live together for many years, while away their old maiden age in a large apartment. So that it would not be so sickening to look at each other day after day, they blocked the space with an “almost capital partition”, and immediately became lonely. Now we have to take down the barrier.

Yanovskaya could put on a play about love, which is "despite and contrary." Could - about dislike, which is also "despite and despite." She could severely reduce this story to a trial of people living without love - not in vain, in the end, Volodin brought them all to the judicial presence. But to the question "Do you believe in love?" The director refused to answer.

Once she had a wonderful performance based on Chekhov, which was called "Ivanov and Others." Her collective hero new production the very “others” who breathed in unison became. Episodic faces, which we all, in essence, are. “I’m getting old,” lonely and disparate women who parted with their loved ones will cry out in the finale on a general exhalation. “I miss you,” they will say a couple of minutes later, opening all the windows at once. Pity them all, so funny and so unfortunate.

Results , October 21, 2013

Maria Sedykh

On a sober head

Henrietta Yanovskaya staged "Don't part with your loved ones" by Alexander Volodin at the Moscow Theatre.

In Notes of a Drunk Man, Volodin admits that in his adolescence he had the same dream: “Here I am flying, and luminous women are flying below, each slightly raising one knee.” I don’t know if Henrietta Yanovskaya and Sergei Barkhin dreamed of such a picture, but when the curtain opens, it comes to life in front of you. Radiant girls in white dresses soar in the air, sparkling with those same knees, and under them, to the horizon, a green sea ... grass. Eden, and only. Those who know the play or have seen the film “Don't Part With Your Loved Ones” are doubly stunned, because they knew exactly the upcoming scene of action - a dull city court through which a series of divorced people passes. Then, in the course of the action, we will make out earthly signs in the landscape: communications pipes hidden in the right wings, an iron spiral staircase in the depths to the left, an eternal bicycle hanging on the wall of the communal apartment, a stone ball on a pedestal - probably in the park, a pay phone, a folding bed, a table and a judge's chair. After all, marriages are only made in heaven ... A photographer will run out of the hall, click the shutter, stopping a happy moment, like Chekhov's Fedotik from The Three Sisters.

Yanovskaya likes to make crowded performances, add to actors plays and others. Treasures shades of meanings. Naturally, in this early Volodinsky play, she added replicas from Notes, the scene “Partition”, the story “All Our Complexes”, but the appearance among the characters of the unforgettable Agafya Tikhonovna immediately makes the Soviet plot timeless. In addition, here, performed by Oksana Lagutina, she is not the usual stout, overstayed fool in the girls, but a faded girl, not her first youth, dried up by longing for the lost love for her dear heart Podkolesin. Wanders soon for almost two hundred years among people as an eternal wanderer.

To feel Volodin, it is worth, for example, to combine two of his formulas: "It's a shame to be unhappy" and "Everyone has the right to their own unhappiness." The artists of MTYUZ connected them, playing not episodes, but destinies. Here Katya and Mitya (Sofia Slivina and Evgeny Volotsky) break through to each other, clumsily circling - they are about to make up, but as soon as you take your eyes off them, you will attract, you won’t tear yourself away, the face of the judge (Victoria Verberg). And you read her thoughts, which she will share only later, when she takes off her shoes from her tired feet during the day and, barefoot, sprawled on the grass, starts a song, becoming a woman-function younger sister Agafya. Their third sister and cleaning lady Tanya (Arina Nesterova), the wife of an alcoholic, shyly admits that recently, just a few years ago, she stopped believing in love. And gentle Irina (Sofya Raizman), who fell in love with Mitya, Charlotte's sister, is out of place with the same tricks.

Over time, the plot will grow into the "Autumn Marathon". It's still a different season here, and the playwright is still unable to cope with the routine, forcing the drama. Katya ends up in a psychiatric hospital. A blank wall separates her from those who, it would seem, coped with the routine, having received their legal right to misfortune, dispassionately stamped in court. But when she rushes to visit her ex-husband with a desperate cry: “I miss you!”, windows suddenly open in the wall, from which they echo her. Yanovskaya staged Volodin the poet, rhyming 24 characters.

At the beginning of the same “Notes of a Drunk Man” there is one very sober observation: “Tasters have multiplied in art. So, with the tongue: Ts... Ts... this is outdated, now this is what is needed... Previously, they indicated from above what and only what art should be. Now progressive tasters decide how and only how it should be.” In the Moscow Youth Theater, without regard to fashion, they continue to put on fearless performances. I miss this theatre.

Theatergoer, October 28, 2013

Irina Alpatova

Full of people

"Do not part with your loved ones", MTYuZ

Henrietta Yanovskaya turned out to be a surprisingly outdated performance. In the sense that it cannot be inscribed either in avant-garde shocking patterns with their riot of video art and other visual components, or in a traditional psychological drama with its “plausibility of feelings”.
“Do not part with your loved ones” in the Moscow Youth Theater is a separate story, piece goods. It mixed clownery and sentimentality, parodic "everyday life" and absolutely conditional, timeless space, laughter turning into tears and vice versa. Such is the paradox.

In the space of Sergei Barkhin, life seems to be rolling down an inclined plane, down a slope, although everything is covered with cheerful green grass. And all the property seems to be already divided. Someone got a cast-iron bath - there she perched on the left, they even forgot to pour water out of it. Someone - a door, someone - a folding bed with chairs. All this is scattered here in a picturesque chaos, symbolizing that life has gone awry. And take away for a while all these colored rags and suitcases - immediately there is a feeling of total emptiness, not only spatial, but also vital.

Moreover, this space is common to everyone, including those who wandered into this performance from some other play or another time. Like Gogol's Agafya Tikhonovna - Oksana Lagutina, a restless soul who still does not calm down after the flight of the unforgettable Podkolesin and, joining the new brides, tells her sad story.

There really is no time here, and what can be the specifics in these endless plots of meetings and partings of people who love or have recently loved people. Yes, costume designer Elena Orlova dressed up the characters in something mid-Soviet. Yes, and the details of life also flew from there. But just that details. Alexander Volodin, of course, inscribes his plays in the definite time, but this work can easily be removed from there, without any harm to anyone.

Correction of morals in the new performance of Yanovskaya is not provided, and they are not correctable. Therefore, situations that are quite real and recognizable, but sometimes reached the point of absurdity in their endless repetition, are presented here in a grotesque-comedy, and even clownish manner. A series of episodes, sometimes of a reprisal quality... Only a constant change of emotional intonations prevents it from sliding into a monotonous stream of monotony. You can laugh heartily at the hilarious couples of the Mironovs (Marina Zubanova and Pavel Poimalov) or the Shumilovs (Ekaterina Aleksandrushkina and Oleg Rebrov), especially since the author's dialogues grow into a daring acting game. And immediately cry over the intelligent couple of the Nikulins (Natalya Korchagina and Vyacheslav Platonov), seeing how touchingly they hold hands. And so without end.

And even Katya - Sofia Slivina and Mitya - Evgeny Volotsky seem to be losing their positions as the main couple here. Yanovskaya does it like Chekhov: everyone is equal and there are no less important stories. Moreover, the characters often meet on the stage, intersecting, listening to the conversations of others, inserting something of their own, thereby composing a single polyphonic story.

And, of course, the link - the Judge in an amazing performance by Victoria Werberg. It seems to be a typical Soviet aunt not even with a pen, but with a self-written hand. But here she is akin to the same Agafya Tikhonovna, just as eternal, although much more ironic, to the point of causticity. But when, suddenly, after the next official phrases, it bursts out loud, it seems, completely inappropriate here, a lump rises to the throat. And then, in the finale, too, when the company from her, the cleaners Tanya - Arina Nesterova and Agafya Tikhonovna - Lagutina will appear almost in the form of Chekhov's "three sisters", who never saw their "sky in diamonds". But Henrietta Yanovskaya does not cause unnecessary tragedy here either, does not exaggerate gloomy colors. After all, our life is a game, and, as you know, there are different periods in it.

New Newspaper, October 28, 2013

Elena Dyakova

Regional small orchestra

In MTYUZ - "Do not part with your loved ones"

The premiere of Henrietta Yanovskaya based on the play by Alexander Volodin is a rare (always rare!) example of pure "theatre for people". And at the same time - the theater of the highest quality.

In the scenery by Sergei Barkhin, Leningrad in the 1960s stands on green, immortal and indelible grass. Like the kingdom of heaven. Everything is worth what it is: red-gray telephone boxes, stone balls at the entrances, district hospitals with grumbling nannies, dense communal apartments - with bicycles hanging in the corridors, over the heads of 35 residents, with "almost capital" partitions in the former master's living rooms, with property acquired in a long-term Soviet marriage (the list consists of two items: a sofa bed and a color TV).

And the women's hostel fire escape, along which it is convenient to climb to the third floor, stands on the grass of paradise. And the district court. The suspended "bikes" sparkle scarlet, reminiscent of old poems: "Two angels on two bicycles - my love and my youth."

... What do angels have to do with the hopeless Leningrad everyday life? And there are a lot of them - almost under every spat on the pediment. In Alexander Volodin's Notes of a Drunk Man, there is a paragraph: a golden-haired girl flies through the square, blowing into a shining trumpet. No, nonsense: where did the pipe come from? It's just that a girl hastily swallows milk from a bottle during the lunch break (appreciate the gesture!) - and dishes with a security deposit of 15 kopecks. shines in the sun. So is she an engineer or a heavenly messenger?

Numerous characters in Volodin's play and Yanovskaya's play are of the same double nature. They are driven up to their shoulders into the harsh life of ours, but they definitely stand at the door from the corridors of the district court to eternity. Especially the Judge (Victoria Werberg), the official guardian of the gates of a new life. In her first remarks, the gears of a huge and wretched state machine grind so familiarly: “Lavrov, have you ever thought about what love, family mean for a person?” (Ah, you are a scarecrow of the Soviet, red-star Akaki Akakievich in knitted sweater non-staining color.) But ...

The role of Victoria Werberg is the main and the best one here. Behind the appearance of a petty official, a wise and very tired interrogator of higher forces in this region of Leningrad gradually emerges. Around her table, a small working spirit of fate is busily carrying a mop on parcels - the cleaning lady of the district court Tanya (Arina Nesterova). And she wanders through the corridors, sits down with those awaiting a divorce, indistinctly telling how it was with her, with love, the city crazy Agafya Tikhonovna (Oksana Lagutina).

Five generations have changed in St. Petersburg, the red terror, the great terror and the blockade have passed over it ... and the merchant's daughter wanders. He bends, listening, unkempt light strands: such faded, stretched, rinsed, as if she was pulled out of the Neva, before walking Agafya forever restless soul around the city. She tells her story to everyone, remembers the highest moment of life, when Ivan Kuzmich Podkolesin told her in the living room about the Yekaterinhof festivities. And then, already dressed for the crown, she entered - and Ivan Kuzmich was gone. Only the window is open.

And it’s true (and that’s all about it): on anything, on whom you can’t jump crazy from love! It is possible, it is possible to go crazy from the flight of Podkolesin - and how many times have we met cases ... Love is a direct wire that connects everyone to the higher elements.

And when it is the love of an elderly citizen, forever intimidated by house management, for a sick older sister with mild dementia and immense trust in the only native person in this world (and such a couple of characters also occur in Volodin’s play); when it is the love of the cleaning lady Tanya for her four and two adopted children, and even for a puppy thrown by a drunken husband into a wooden “point” of a suburban toilet, nothing changes. Twenty-seven MTYUZ actors are involved in the performance - from highly experienced actors to a group of recent RATI graduates who came to the theater with their diploma performances "The Four-Legged Crow" and "The Lieutenant from the Island of Inishmore". All are good. Yanovskaya, the subtlest director, here refuses the outward visual signs of the director's theatre. Not a score of lights on the stage, as in her "Ivanov". No score of water, as in "Thunderstorm". Everything - through the actors. Everything is in people.

The audience will recognize our life in sharp sketches in front of the table of an impenetrable and all-understanding Judge. Marriages made in heaven, marriages out of hopelessness, marriages in the hope of a cooperative apartment, drunken marriages, record-breakingly ridiculous marriages (because the incredible ease of divorce provided - and provides! - the same ease of marriage).

But all the time you think: on stage - the turn of the 1960s-1970s. The last generation of Russian townspeople who held on to marriage so much and shuddered at the words "children without a father." A little later, the time of single mothers will go through the two capitals. And then - just the time of singles ...

Volodin's one-act play "Agafya Tikhonovna" has grown into Yanovskaya's performance as organically as his story "All Our Complexes". From there, open, sobbing, finale - the tears of the Judge, the entire 40-hour working weeks, all her life sorting out other people's far-fetched and obvious troubles, so that in the evening, close, forehead rest against her life. The inconsistent story of Tanya with many children. The ghost of Agafya Tikhonovna, in horror, curiosity and sympathy, froze over them. The weeping union of broken female destinies accurately portends the future - and many new trends.

But in the finale, standing on the fire escapes, on the steps, almost on the roofs of telephone booths, all the heroines of the play hoarsely shout, each to her own: “I miss you!” And this scream is the norm. This kind of love, this kind of love, tangled, nervous, Soviet upbringing, pioneer chastity, complicated by the habit of tram and apartment squabbles - any love is better than emptiness ... A curtain.

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