Crime and punishment ndt. Review of the play "Crime and Punishment"

Journalist Olga Komok, having gone to the Alexandrinsky Theater to see “Crime and Punishment,” states that the performance is a real test for the viewer. At least for a while.

At the Alexandrinsky Theater and at The festival of the same name hosted, if not the most successful, then certainly the loudest premiere of the year. Artistic director of the Hungarian national theater Attila Vidnyansky staged Dostoevsky's novel Crime and Punishment as an opera. Yes, not just any kind, but the most post-Wagnerian one: five and a half hours of epic action, verbose heroes - not people, but personifications of all kinds different ideas and moral and ethical concepts, boiling passions are sent not to everyday life, but immediately to eternity (or to a textbook on the history of literature). And, of course, music: it is this that rules the roost on the stage of a drama theatre, pushes the action forward, overwhelms the monologues of the characters with sound storms, and makes the ubiquitous mimance in prison padded jackets move.

This mimance is also sings as expected opera choir. Live voices create a charming counterpoint to the main phonogram (which is an encyclopedia of Austro-German expressionism of the 20th century interspersed with Gregorian chant and well-known baroque): something from Russian church life, a little folklore, plus a vocal arrangement of a hit Amy Winehouse- this is a bonus for those who decided to stay for the second part of the “concert” after the 2.5-hour act.

Other bonuses in the second there is almost no act: in the first 2 hours the public is already presented with all the know-how of the opera “Crime and Punishment”. Black and white constructivism suits the score very well. An ominously cheerful mimance rolls around abstract fragments of human (or is it human?) dwellings at every turn of the well-known plot. Complete reverence for the main Russian novel is shown, the actors recite the text of the classic for entire pages. Unless, to speed up the process, they overlap each other polyphonically: for example, Marmeladov (Sergei Parshin) confesses to drunkenness, and at the same time, Mother Raskolnikova (Maria Kuznetsova) reads a letter to her son. At first, the monologues are richly illustrated: Sonya (Anna Blinova, beautiful in her artistic restraint) depicts the story of her fall through plastic exercises. The hacked old women, and later the dead man Marmeladov, do not leave the stage, just as opera leitmotifs do not disappear from the score. Raskolnikov's dream about killing a horse generally turns into a violent stage apocalypse, including for the ears of citizens who are not accustomed to the stadium decibel level.

All parts of the performance are scheduled in strict accordance with the instructions of the composer, that is, the writer. Skinny, crazy Katerina Ivanovna (Victoria Vorobyova) rushes around with children in bunny costumes, Razumikhin (Viktor Shuralev) is a positive hipster in a Gagarin T-shirt, Luzhin is a caricature of an official, Lebezyatnikov (Ivan Efremov) is an idealist from those who built in 1991 barricades near the White House, Svidrigailov - the brilliantly disgusting, choreographically precise Dmitry Lysenkov - does not step out of his intended role for a second. Even Raskolnikov himself does not seem like a living, independent hero - Alexander Polamishev plays a soul confused to the point of complete uncertainty. And only one actor (or character?) takes full advantage of Dostoevsky: Vitaly Kovalenko turned investigator Porfiry Petrovich into a kind of clown from a horror film, a many-sided serpent-tempter with hysterical laughter and the habits of a parody socialite. Here it is not the role that controls the artist, but quite the opposite.

In the second act this The snake dresses up in a Catholic cassock and with devilish pressure whispers to Raskolnikov already soul-saving thoughts - about the benefits of faith and repentance. Sonya also speaks about the same thing - head-on, for a long time, without any tricks. After a rollicking march of characters in honor of all the evil and dead (with a hilarious giant ax instead of a banner), the director seems to lose interest in filling the stage with movement. The walls don't roll, the choir disappears into the darkness. A series of languid solos ensues. Each character speaks out before last breath, to the last note - pure punishment for the viewer who is late for the subway. And when Svidrigailov, having confessed to his heart’s content, having climbed the walls and rolled on the floor, finally shoots himself simultaneously with Raskolnikov’s sacramental “I killed!”, and the lights on the stage go out, the only strength left is for a response sigh - “And thank God.”

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On the small stage of the Baltic House theater, Aleksandrovsky Park, 4

“Crime and Punishment” - a lecture for the benefit of all humanity, based on the novel by F.M. Dostoevsky. The performance was created by a young studio - graduates of L.B. Erenburg at BIIYAMS (graduate of 2011) led by teacher, actor and director Vadim Skvirsky.

Duration of the performance - 3 hours 15 minutes. with one intermission.

“Crime and Punishment” is not quite a performance of the Small Drama Theater, although it has all the signature features of its style. This is a performance that was created by a young studio - graduates of L.B. Erenburg in BIIYAMS (2011 edition) led by teacher, actor and director Vadim Skvirsky (familiar to viewers from the roles of Solyony in “Three Sisters”, Luka in “At the Depths”, Enrique in “To Madrid, to Madrid!”, etc. .). In addition to new young actors, NDT old-timers Evgeny Karpov and Daniil Shigapov also play in the play. This is painful, bitter, but at the same time - (as always in NDT) ironic and through the word funny story about the search for guidelines, moral, spiritual, universal; about misconceptions and illusions; about freedom and love.

“The performance is very intense and truly funny. You watch the actors without stopping, they react sensitively to each other, they exist as a single ensemble, the young artists do not look like “students” next to the experienced Ehrenburg actors. You should write about each acting work separately, you want to analyze each scene, you want to describe, record, admire the actors and decisions (...). The genre of the performance is designated as “a lecture for the benefit of all humanity in some way.” And we can say that, despite the irony, this task is being accomplished. An amazing lecture about the powerlessness of words and ideas, about the power of life, about the “absurd and funny”, in my opinion, really convinces, demonstrates its view of Dostoevsky in the best traditions of Ehrenburg’s theater, and “somehow helps”, helps - if not everything humanity, then the viewer of the small stage of the Baltic House. I would like to sign up for the entire course of lectures.” Olga Izyumova, Blog of the St. Petersburg Theater Magazine

Diplomas and awards: Independent theater award of St. Petersburg “Bronze Lion” in the following categories: Best performance small form– “Crime and Punishment”, Best male role- Daniil Shigapov (Raskolnikov), Best Supporting Actor - Evgeny Karpov (Porfiry Petrovich), March 2014; IX International Youth Theater Forum “M.art.contact”, Special prize for the play “Crime and Punishment” - “Best youth performance” (Mogilev, Belarus, March 2014); IX International festival student and postgraduate performances “Your Chance” (Moscow, May 2013). Grand Prix for the play “Crime and Punishment” by Vadim Skvirsky.

The performance is for spectators over 16 years old.

Keywords: Crime and Punishment, 2018, poster Saint Petersburg, Ehrenburg Theater, Small Theatre of Drama, Small Drama Theater St. Petersburg, cost, ticket price, order tickets, buy tickets, address, how to get there, box office, contacts, poster Small Drama Theater, January, February

The Small Drama Theater released a premiere based on Fyodor Dostoevsky's novel Crime and Punishment. Vadim Skvirsky's production is based on sketch material from last year's release by Lev Ehrenburg, the founder of NDT. It is no wonder that in the performance itself the hand of the master is felt in everything, and the new “Crime” easily enters the repertoire of the Ehrenburg Studio Theatre.

On the stage there are eternal scaffoldings, which perfectly correspond to the classic description of summer St. Petersburg: “lime, scaffolding, brick, dust everywhere.” The first to appear against the backdrop of these forests will be the lecturer, deprived not only of beauty, but also of average health. Her short right hand, stricken by thalidomide infirmity, convulsively clutches the volume of Dostoevsky, in which she searched for the “blue stocking”, but did not find truth and happiness. And that is why today she has appointed herself as the main accuser and debunker of the classic.

— The world is ruled not by love and not by God! - she insists stubbornly. - And the aesthetics!

And at first, the purpose of the performance-lecture on Dostoevshchina, indicated on the program, “for the somehow advancement of all humanity” seems straightforward, even mocking. The revelation comes only towards the end of the performance. No wonder it is said that laughter leads to human soul manages to break through faster than with edification, and the audience at Skvirsky’s premiere constantly laughs. And no wonder: even the toothless suicide bomber Marmeladov (Alexander Belousov), who got drunk in front of the public until the scaffolding collapsed from the second floor, is funny.

But the main thing is that the performance does not contain the usual, and therefore flat, literary images, which you can hardly laugh at while reading the novel. Thus, the murder of the old pawnbroker is not shown to the public, only the would-be lecturer sublimates alone until she falls from an invisible, but witnessed by a trickle of blood, blow from an ax. And here the viewer begins to understand that all the global nonsense in the world is done with a serious expression on his face. And the contrast between the abstruse lecturer and the imbecile Lizaveta, also killed by Raskolnikov (both heroines are played by Yulia Grishaeva), presents the viewer who imagines himself as an intellectual with a solid slap in the face: stupidity is generally happier than intelligence, at least in love.

That’s why Raskolnikov’s mother (Tatyana Vlasova) is kind and stupid, for whose sake even Rodion (Kirill Kobzarev), unhappily trying to put an idea (“fiction” from the word “think”!) above life, climbs onto a Viennese chair and recites poetry, as in childhood pulling up your trouser legs to your knees. And Sonechka Marmeladova (Anastasia Aseeva) is absolutely, virginally stupid, not understanding a word of Raskolnikov’s insanity, but it is these three women who receive pounds of love and the invisible wings of guardian angels.

Analyzing Dostoevsky “in terms of his mind,” the fearful lecturer, who lacks positivity in life, slipping into emotions and instincts, will cry out: “People look for answers in books, and there is only one big question! But in order to get an answer, the question must be formulated correctly. NDT succeeded, and the viewer will receive the answer.

Performance - “Crime and Punishment”
Director - Vadim Skvirsky
Theater - Theater-Studio A small drama theater under the direction of Lev Ehrenburg (St. Petersburg).

At the ninth festival “Your Chance” in Moscow, the play “Crime and Punishment” based on the novel by F.M. Dostoevsky was shown by the theater-studio Small Drama Theater (NDT) from St. Petersburg. The program for the performance says that the performance was created on the basis of sketch material prepared during the course of acting by L.B. Ehrenburg (graduate 2011, BIYAMS). Now the performance is already included in the repertoire of the NDT studio theater. The main roles in the play are played by former students courses, some of which were accepted into the NDT theater-studio troupe, but two central, key roles were given to the leading (in fact, all leading artists in NDT) actors of the NDT studio theatre. The role of Raskolnikov Rodion Romanovich is played by Daniil Shigapov, and the role of Porfiry Petrovich is performed by Evgeny Karpov.

Those who are familiar with the work of Lev Ehrenburg and his theater know that the theater has its own individual theatrical style. The style is tough, inquisitive, meticulous, corrosive, realistic, authentic, naturalistic. If you play a role, then don’t play it, but live it. If you fight, then fight honestly, until there are bruises and blood. If you love, then love for real. The viewer should not doubt the sincerity and honesty. Almost all performances of the NDT studio theater are performed using the etude method, i.e. There is no end-to-end continuous action. The action unfolds and gains momentum from one sketch to the next. Some people like it, but for others, on the contrary, this style causes rejection and disappointment. It is better to see the performances of the NDT studio theater once than to hear about them a hundred times in order to have your own opinion. And there is something to look at in NDT, believe me.

After watching the play “Crime and Punishment,” one gets the feeling that the actor and director of the NDT theater studio V. Skvirsky has surpassed his teacher. But, alas, this feeling is deceptive. The thing is that V. Skvirsky put all of himself into his debut work, which is extremely commendable for a debut. I hope that the next performances staged by him will be no worse than the debut. The performance turned out to be strong, clear, structured, acted and logically completed.

Of course, it is clear what the director wanted to say with his performance. It is clear that the novel “Crime and Punishment” has been reread and analyzed more than once. There are no passing scenes from the novel. Even the scene of the murder of the old pawnbroker is missing. The viewer will not have a question: Why is this scene? The director deliberately selected only those scenes that ultimately fit into the logical chain of the performance.

The form of the performance is defined as “a lecture for the benefit of all humanity in some way.” The lecturer, a woman who knows and deeply understands the work of not only Dostoevsky, but also L. Tolstoy, immerses viewers into the world of the heroes of Dostoevsky’s novel. It is this serious knowledge of hers that helps viewers look at the novel from the other side, i.e. get away from the tired stereotypes of the school curriculum.

The performance, first of all, is not about crime and punishment, but about personal freedom - in its real and original understanding. About getting rid of those ideas and words that prevent you from being yourself - a person. Kill false stereotypes in yourself. Another play about the power of life. Raskolnikov walked towards this deliverance throughout the entire performance, trying to get away from storyline novel. As he says: “it won’t be like in the book!” And liberation occurred, but only at the end of the performance at hard labor. Raskolnikov saves Sonechka from death, seeing a person in her. He acts like a human being, saving her by giving her his clothes. Sonechka, falling asleep sweetly, recovers, lying on her side. The culmination of the lecture (performance) is universal liberation and worship. All characters without exception.