F.M. Dostoevsky on the theater stage

Katerina Liseycheva reviews: 1 ratings: 1 rating: 3

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

Alla reviews: 185 ratings: 185 rating: 393

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

Alex Vah reviews: 5 ratings: 6 rating: 18

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

Anna A reviews: 23 ratings: 28 rating: 18

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

The aftertaste is long and tart

Nikolay Drogaytsev reviews: 7 ratings: 7 rating: 7

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

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

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

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

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

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

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

The creator of "Karamazov" and "The Idiot" is the most important theater author today. His works appear on stage in the most different genres- from a concert to a political farce. We chose the loudest productions.

"Idiot"

The main intrigue of December associated with Dostoevsky is the premiere at the Theater of Nations. Director Maxim Didenko, author of the hit performances “Cavalry” (Vs. Meyerhold Center) and “Kharms. Myr (Gogol Center) staged The Idiot. The chosen aesthetic is black clownery, grotesque. In the foreground is the love triangle “Myshkin - Nastasya Filippovna - Rogozhin”. Didenko himself says that “in our world the perception of Dostoevsky as a living, ironic person has been lost.” Although the stage version of the novel includes 20 characters, only four performers are involved in the play - along with Ingeborga Dapkunaite, who will play Prince Myshkin (!), Evgeny Tkachuk, Pavel Chinarev, Roman Chaliapin and Alexander Yakin will appear on stage. All events will unfold in a space created by artist Pavel Semchenko from the radical theater AXE, which means complex video mapping and fantastic costumes await us.