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Simpler easier more fun Stanislavsky. Antarova

TYUMEN STATE INSTITUTE OF ARTS AND CULTURE

Department of Directing and Acting

S.P. Kutmin

Concise Dictionary theatrical terms

for students of directing specialization

publishing house

Tyumen State Institute of Arts and Culture

BBC 85.33 i 2

Kutmin, S.P.

A short dictionary of theatrical terms for students of directing specialization / Kutmin S.P.; TGIIK; Dept. dir. and act. mastery. - Tyumen, 2003. - 57p.

The dictionary deals with special terms of theatrical, variety art. These are the words that directors of the theater and public holidays use more than others at rehearsals, we constantly hear them when working on a play, performance, in an actor's work on a role. The dictionary is intended for students and teachers of secondary and higher educational institutions arts and culture.

Reviewer: Zhabrovets, M.V. Ph.D., Associate Professor, Head. department of directing and acting

Foreword

This dictionary aims to give only a brief, most basic explanation of the terms often encountered in the process of teaching directing, working on a play, performance, role. Art is a field of activity that is extremely difficult to systematize, generalize, theorize, and precise definitions and wording. Each term has many interpretations. And each interpretation is not quite accurate and exhaustive. How many creators of directors - so many opinions about professional terminology. After all, any theoretical position - follows from a specific creative practical experience and creativity is always individual and unique. Even K.S. Stanislavsky, there is a constant evolution in the understanding of a particular term. In the process of life and creative searches, the terminology of concepts was modified, refined, supplemented. The wording of K.S. Stanislavsky were creatively comprehended and developed in the works of his students and followers - M. Knebel, M. Chekhov, V. Meyerhold, E. Vakhtangov, G. Christie, G. Tovstonogov, B. Zakhava, A. Palamishev, B. Golubovsky, A. .Efros and many others. K. S. Stanislavsky urged to approach the matter creatively, and not treat it dogmatically. Therefore, when working with a dictionary, a novice director should learn only the essence of a particular concept, and then try to “appropriate and correlate” it with his own perception and creative search. The dictionary contains about 490 words and terms. This volume, of course, is not enough. The dictionary requires further improvements, additions and clarifications. I hope that it will gradually increase in volume, and the number of words and terms will be replenished and refined. If while working with the dictionary readers have any wishes, comments, they will be taken into account in the next edition of the dictionary.

Easier, higher, lighter, more fun.” K.S.Stanislavsky

Abstraction(lat. - distraction) - way artistic thinking and image building. This method involves a distraction from the secondary, insignificant in the information about the object, emphasizing significant significant points.

Absurd(lat. - nonsense, absurdity) Direction in art, the contradiction of the plot of the work. If a work develops in a certain sequence and logic of events: exposition, plot, conflict, its development, culmination, denouement and finale, then absurdity is the absence of the logic of conflict. This direction was reflected in the works of J. Anouilh, J. P. Sartre, E. Ionesco, etc. Absurdity is a kind of creativity that determines the paradoxical nature of this phenomenon; it is little studied, but is of particular interest from the direction of the theater.

Vanguard(fr. - advanced detachment) - a direction of art that contradicts the norms established in art. The search for new solutions that meet the aesthetics and demands of the new generation.

Proscenium(fr. - in front of the stage) - front part theater stage(before the curtain). Proscenium in modern theatrical art appears to be an additional playground. Possibility of direct communication with the audience.

Administrator(lat. - manage, manage) - a person, professional activity which is aimed at the rental of performances, concerts in the theater and on the stage.

hype(fr. - excitement) - strong excitement, excitement, struggle of interests.

Excitement(fr. - accident) - passion, enthusiasm. Strong passion, zeal. Extreme passion for the game.

Act(lat. - act, action) - Separate, large, component dramatic action or theatrical performance.

Actor(lat. - acting, performer, reciter) - the one who acts, plays the role, becomes actor dramatic work on the stage of theater and cinema. The actor is a living link between the text of the author, the director's intention and the perception of the public.

Actor stamp- techniques of stage play once and for all fixed by the actor in his work. Ready-made mechanical techniques of the actor, which become a habit and become his second nature, which replaces human nature on the stage.

Acting art- the art of creation stage images; view performing arts. The material for the actor's work on the role is his own natural data: speech, body, movements, facial expressions, observation, imagination, memory, i.e. his psychophysics. A feature of acting art is that the process of creativity in the final stage takes place in front of the viewer, during the performance. The art of acting is closely related to the art of the director.

Actual(lat. - existing, modern) - importance, significance for the current moment, topicality, modernity.

Allegory(gr. - allegory) - principle artistic comprehension reality, in which abstract concepts, ideas, thoughts are expressed in specific visual images. For example, the image of a woman with a blindfold and scales in her hands - a. justice. Verbal allegory in fables, fairy tales.

allusion(lat. - to hint) - reception artistic expressiveness enriching artistic image additional associative meanings by similarity or difference by alluding to a well-known work of art. For example, in F. Fellini’s film “And the ship is sailing”, the allusion biblical legend about Noah's ark.

Ambivalence(lat. - both - strength) - a psychological concept denoting the duality of sensory perception. The simultaneous presence in the soul of a person of opposite, incompatible with each other aspirations, feelings in relation to the same object. For example: love and hate, satisfaction and dissatisfaction. One of the senses is sometimes repressed and masked by another.

Ambition(lat. - ambition, boasting) - pride, a sense of honor, swagger, arrogance.

Role(fr. - application) - the nature of the roles performed by the actor. Type theatrical roles corresponding to the age, appearance and style of the actor. Types of stage roles: comedian, tragedian, hero-lover, heroine, comic old woman, soubrette, ingenue, travesty, simpleton and reasoner.

Amphitheater(gr. - all around, on both sides) - a building for spectacles. IN modern theaters- rows of chairs located behind the porter and above it.

Analysis(gr. - decomposition, dismemberment) - method scientific research, consisting in the division of the whole phenomenon into its constituent elements. In the theater, analysis is a (active analysis) kind of explication, i.e. the place and time of the event, the motivation of the physical and verbal actions of the characters are characterized. Elements of the composition of the play (exposition, plot, conflict development, climax, denouement, finale). The atmosphere of the ongoing action, musical, noise and light scores. The analysis includes the rationale for choosing a topic, problem, conflict, genre, super-task and through action future performance, as well as its relevance. Analysis - effective method, the process of preparing the implementation of staging in practice.

Analogy(gr. - corresponding) - the similarity between objects in some respect. To draw an analogy is to compare objects with each other, to establish common features between them.

Engagement(fr. - contract) - an invitation to an artist under a contract for performances for a certain period.

Joke(gr. - unpublished) - fictional, short story about a funny incident.

Announcement(fr. - announcement) - an announcement about upcoming tours, concerts, performances. Preliminary, without detailed instructions poster.

Ensemble(fr. - together, whole, connectedness) - a harmonious unity of parts that form a whole. Artistic coherence in the joint performance of a dramatic or other work. The integrity of the entire performance based on its idea, director's decision, etc. Thanks to the preservation of the ensemble of performers, a unity of action is created.

Intermission(fr. - between - act) - a short break between acts, actions of the performance or sections of the concert.

Entrepreneur(fr. - entrepreneur) - a private, theatrical entrepreneur. Owner, tenant, owner of a private entertainment enterprise (theater, circus, film studio, television, etc.).

Entreprise(fr. - enterprise) - a spectacular enterprise created and led by a private entrepreneur. Keep the entreprise.

Entourage(fr. - environment, surrounding) - environment, environment. The entourage is not only scenery and enclosures, but also space,

Full house(German - blow) - an announcement in the theater, in the cinema that all tickets are sold. Successful performance in front of a full house. Hence the turn of phrase - "the performance was held with a full house."

Aparte(lat. - to the side.) - stage monologues or remarks spoken to the side, for the public, and supposedly not audible to partners on stage.

Aplomb(fr. - plumb) - self-confidence, courage in manners, conversation and actions.

Apotheosis(gr. - deification) - the final, solemn mass scene of a theatrical performance or a festive concert program. The perfect end to any show.

Arena(lat. - sand) - a round platform (in a circus) on which performances are given. They are used both in the theater and in theatrical performance.

Harlequin(it. - mask) - a comic character of the Italian folk comedy in a characteristic costume of multi-colored rags. Boy, joke.

"Harlequin"(it.) - a narrow and long curtain made of textiles, limiting the upper part of the stage above the main curtain. The first pada after the curtain.

Articulation(lat. - dismember, articulate) - articulate pronunciation. The work of the speech organs (lips, tongue, soft palate, jaws, vocal cords, etc.) necessary to pronounce a certain speech sound. Articulation is the basis of diction and is inextricably linked with it.

Artist(fr. - man of art, artist) - a person engaged in the public performance of works of art. talented person mastering his craft to perfection.

Artistic technique- a technique aimed at developing the improvement of the mental and physical nature of the artist. It includes all components stage action: the work of the senses, memory for sensations and the creation of figurative visions, imagination, the proposed circumstances, the logic and sequence of actions, thoughts and feelings, physical and verbal interaction with the object, as well as expressive plasticity, voice, speech, characteristic, sense of rhythm, grouping, mise-en-scene, etc. Mastering all these elements should lead the actor to the ability to perform genuine, purposeful, organic actions in an artistic and expressive form.

Architectonics(gr. - builder) - building art, architecture. Building artwork, which is determined by the interdependence of individual parts as a whole. Proportional arrangement of the main and secondary parts. In other words, it is the unity of form and content. Based on this, there is the concept of “architectonics of a play”. To discover the chain of main events as a result of analysis means to know the architectonics of a play or composition.

backstage(fr. - back stage) - the back of the stage, which is a continuation of the main stage, in modern theaters - is equal to it in area. Creating the illusion of great depth of space. Serves as a backup.

Assistant(lat. - present) - assistant. In the art of spectacle, an assistant is a person who assists the stage director in staging a play or performance. The duties of an assistant are varied. He must understand the creative tasks of his leader, imbued with them in search of artistic solutions. He must also know the laws of the stage, conduct rehearsals in the absence of the director, be a link between the director and the actors, technical services.

Associative series(lat.) - pictures and ideas that follow one from the other according to their compatibility or opposition.

Association(lat. - I connect) - a way to achieve artistic expressiveness based on identifying the connection of images with ideas stored in memory or enshrined in cultural and historical experience.

Atmosphere(gr. - breath, ball) - environmental conditions, situation. In the art of theatre, the atmosphere is not only the setting and surrounding conditions, it is also the state of the actors and performers who, interacting with each other, create an ensemble. The atmosphere is the environment in which events develop. The atmosphere is the link between the actor and the audience. She is a source of inspiration in the work of the actor and director.

Attribute(lat. - necessary) - a sign of an object or phenomenon, belonging to something. A full attribute can be successfully replaced by its fragments, but the duration is not affected by this.

Attraction(fr. - attraction) - a number in a circus or variety program, which stands out for its spectacularity, arousing public interest.

Poster(fr. - an announcement nailed to the wall) - a posted announcement about an upcoming performance, concert, lecture, etc. Type of advertising.

Advertise(fr. to announce publicly) - to flaunt, intentionally draw general attention to something.

Aphorism(gr. - saying) - a short, expressive saying containing a generalizing conclusion. For an aphorism, completeness of thought and perfection of form are equally obligatory.

Affect(lat. - passion) - emotional excitement, passion. An attack of strong nervous excitement (rage, horror, despair).

people, architecture, animal world- i.e. everything that surrounds a person.

TYUMEN STATE INSTITUTE OF ARTS AND CULTURE

Department of Directing and Acting

S.P. Kutmin

Concise Dictionary of Theater Terms

for students of directing specialization

publishing house

Tyumen State Institute of Arts and Culture

BBC 85.33 i 2

Kutmin, S.P.

A short dictionary of theatrical terms for students of directing specialization / Kutmin S.P.; TGIIK; Dept. dir. and act. mastery. - Tyumen, 2003. - 57p.

Reviewer: Zhabrovets, M.V. Ph.D., Associate Professor, Head. department of directing and acting

Foreword

This dictionary aims to give only a brief, most basic explanation of the terms often encountered in the process of teaching directing, working on a play, performance, role. Art is a field of activity that is extremely difficult to systematize, generalize, theorize, as well as precise definitions and formulations. Each term has many interpretations. And each interpretation is not quite accurate and exhaustive. How many creators of directors - so many opinions about professional terminology. After all, any theoretical position - follows from a specific creative practical experience, and creativity is always individual and unique. Even K.S. Stanislavsky, there is a constant evolution in the understanding of a particular term. In the process of life and creative searches, the terminology of concepts was modified, refined, supplemented. The wording of K.S. Stanislavsky were creatively comprehended and developed in the works of his students and followers - M. Knebel, M. Chekhov, V. Meyerhold, E. Vakhtangov, G. Christie, G. Tovstonogov, B. Zakhava, A. Palamishev, B. Golubovsky, A. .Efros and many others. K. S. Stanislavsky urged to approach the matter creatively, and not treat it dogmatically. Therefore, when working with a dictionary, a novice director should learn only the essence of a particular concept, and then try to “appropriate and correlate” it with his own perception and creative search. The dictionary contains about 490 words and terms. This volume, of course, is not enough. The dictionary requires further improvements, additions and clarifications. I hope that it will gradually increase in volume, and the number of words and terms will be replenished and refined. If while working with the dictionary readers have any wishes, comments, they will be taken into account in the next edition of the dictionary.

Easier, higher, lighter, more fun.” K.S.Stanislavsky

Abstraction(lat. - distraction) - a way of artistic thinking and building an image. This method involves a distraction from the secondary, insignificant in the information about the object, emphasizing significant significant points.

Vanguard(fr. - advanced detachment) - a direction of art that contradicts the norms established in art. The search for new solutions that meet the aesthetics and demands of the new generation.

Proscenium(fr. - in front of the stage) - the front of the theater stage (in front of the curtain). The proscenium in modern theatrical art is an additional playground. Possibility of direct communication with the audience.

Administrator(lat. - manage, manage) - a person whose professional activity is aimed at the rental of performances, concerts in the theater and on the stage.

hype(fr. - excitement) - strong excitement, excitement, struggle of interests.

Excitement(fr. - accident) - passion, enthusiasm. Strong passion, zeal. Extreme passion for the game.

Act(lat. - act, action) - A separate, large, integral part of a dramatic action or theatrical performance.

Actor(lat. - acting, performer, reciter) - one who acts, plays a role, becomes the protagonist of a dramatic work on the stage of the theater and cinema. The actor is a living link between the text of the author, the director's intention and the perception of the public.

Acting art- the art of creating stage images; type of performing arts. The material for the actor's work on the role is his own natural data: speech, body, movements, facial expressions, observation, imagination, memory, i.e. his psychophysics. A feature of acting art is that the process of creativity in the final stage takes place in front of the viewer, during the performance. The art of acting is closely related to the art of the director.

Actual(lat. - existing, modern) - importance, significance for the current moment, topicality, modernity.

Allegory(gr. - allegory) - the principle of artistic understanding of reality, in which abstract concepts, ideas, thoughts are expressed in specific visual images. For example, the image of a woman with a blindfold and scales in her hands - a. justice. Verbal allegory in fables, fairy tales.

allusion(lat. - to hint) - a technique of artistic expressiveness that enriches the artistic image with additional associative meanings by similarity or difference by hinting at an already known work of art. For example, in F. Fellini's film "And the Ship Sails", an allusion to the biblical legend about Noah's Ark is read.

Ambition(lat. - ambition, boasting) - pride, a sense of honor, swagger, arrogance.

Role(fr. - application) - the nature of the roles performed by the actor. Type of theatrical roles corresponding to the age, appearance and style of the actor. Types of stage roles: comedian, tragedian, hero-lover, heroine, comic old woman, soubrette, ingenue, travesty, simpleton and reasoner.

Amphitheater(gr. - all around, on both sides) - a building for spectacles. In modern theaters - rows of seats located behind the porter and above it.

Analysis(gr. - decomposition, dismemberment) - a method of scientific research, consisting in the dismemberment of the whole phenomenon into its constituent elements. In the theater, analysis is a (active analysis) kind of explication, i.e. the place and time of the event, the motivation of the physical and verbal actions of the characters are characterized. Elements of the composition of the play (exposition, plot, conflict development, climax, denouement, finale). The atmosphere of the ongoing action, musical, noise and light scores. The analysis includes the substantiation of the choice of topic, problem, conflict, genre, super-task and through action of the future performance, as well as its relevance. Analysis is an effective method, the process of preparing the implementation of the setting in practice.

Analogy(gr. - corresponding) - the similarity between objects in some respect. To draw an analogy is to compare objects with each other, to establish common features between them.

Engagement(fr. - contract) - an invitation to an artist under a contract for performances for a certain period.

Joke(gr. - unpublished) - a fictional, short story about a funny, funny incident.

Announcement(fr. - announcement) - an announcement about upcoming tours, concerts, performances. Preliminary, without detailed instructions poster.

Intermission(fr. - between - act) - a short break between acts, actions of the performance or sections of the concert.

Entrepreneur(fr. - entrepreneur) - a private, theatrical entrepreneur. Owner, tenant, owner of a private entertainment enterprise (theater, circus, film studio, television, etc.).

Entreprise(fr. - enterprise) - a spectacular enterprise created and led by a private entrepreneur. Keep the entreprise.

Entourage(fr. - environment, surrounding) - environment, environment. The entourage is not only scenery and enclosures, but also space,

Aparte(lat. - to the side.) - stage monologues or remarks spoken to the side, for the public, and supposedly not audible to partners on stage.

Aplomb(fr. - plumb) - self-confidence, courage in manners, conversation and actions.

Apotheosis(gr. - deification) - the final, solemn mass stage of a theatrical performance or a festive concert program. The perfect end to any show.

Arena(lat. - sand) - a round platform (in a circus) on which performances are given. They are used both in the theater and in theatrical performance.

Harlequin(it. - mask) - a comic character of the Italian folk comedy in a characteristic costume of multi-colored rags. Boy, joke.

"Harlequin"(it.) - a narrow and long curtain made of textiles, limiting the upper part of the stage above the main curtain. The first pada after the curtain.

Artist(fr. - man of art, artist) - a person engaged in the public performance of works of art. A talented person who is master of his craft to perfection.

Artistic technique- a technique aimed at developing the improvement of the mental and physical nature of the artist. It includes all the constituent elements of the stage action: the work of the senses, memory for sensations and the creation of figurative visions, imagination, proposed circumstances, logic and sequence of actions, thoughts and feelings, physical and verbal interaction with the object, as well as expressive plasticity, voice, speech, characteristic, sense of rhythm, grouping, mise-en-scene, etc. Mastering all these elements should lead the actor to the ability to perform genuine, purposeful, organic actions in an artistic and expressive form.

Architectonics(gr. - builder) - building art, architecture. The construction of a work of art, which is determined by the interdependence of individual parts as a whole. Proportional arrangement of the main and secondary parts. In other words, it is the unity of form and content. Based on this, there is the concept of “architectonics of a play”. To discover the chain of main events as a result of analysis means to know the architectonics of a play or composition.

Associative series(lat.) - pictures and ideas that follow one from the other according to their compatibility or opposition.

Attribute(lat. - necessary) - a sign of an object or phenomenon, belonging to something. A full attribute can be successfully replaced by its fragments, but the duration is not affected by this.

Attraction(fr. - attraction) - a number in a circus or variety program, which stands out for its spectacularity, arousing public interest.

Poster(fr. - an announcement nailed to the wall) - a posted announcement about an upcoming performance, concert, lecture, etc. Type of advertising.

Advertise(fr. to announce publicly) - to flaunt, intentionally draw general attention to something.

Aphorism(gr. - saying) - a short, expressive saying containing a generalizing conclusion. For an aphorism, completeness of thought and perfection of form are equally obligatory.

Affect(lat. - passion) - emotional excitement, passion. An attack of strong nervous excitement (rage, horror, despair).

people, architecture, wildlife - i.e. everything that surrounds a person.

Admirers of surrealism and simply those who appreciate pleasant leisure cannot miss the play "The Crazy Life of Salvador Dali", which will be shown in St. Petersburg in February. "VD" talked with the performer leading role Sergei Yankovsky about the production, the great artist and contemporary art.

- The play about the great painter, in my opinion, requires extraordinary scenography ...

— We initially wanted to make a production with an interesting visual solution, which is why the scenery of the performance appeals to the works of our main character. Every now and then pictures appear on the stage, but they do not appear as illustrations. The characters of the paintings come to life and begin to interact with the main character, influence him.

- And what characters of Dali's paintings appear in the play?

- His first teacher was Ramon Pichot, Paul Eluard, Hitler, Lenin, Vermeer's Lacemaker, Dr. Freud and even the Elephant.

- What was more important for you, more interesting in working on the play - the works of Salvador Dali or his fate?

“It seems to me that it is so interconnected that one is inseparable from the other. In the process of writing the play, I was interested in something else: total myth-making, which extended to all spheres of his life. His books are an explosive mixture of fiction and autobiographical literature. Often, when he describes an event that took place, you suddenly realize that this is a fiction, this never happened and could not be. For example, Dali recalls that when he was a child, he saw in the theater optical illusions his teacher, Russia, and a little girl who he writes was Gala. This, of course, is beautiful, but I think that at that moment he had not heard about any Russia.

— When you were writing the play, were you not tempted to add some more episode, supposedly from the biography of Salvador Dali?

- No, first of all, the task was to cut off everything unnecessary and not to fall into surrealism on stage. An attempt to transfer surrealism in its purest form to the stage often ends up with the viewer simply not understanding what is happening. I think it's important to be able to tell a story clearly.

— Do you yourself understand where is the truth and where is the artist's fantasy?

- Events are known that were absolutely accurate. For example, when they brought him a bill in a restaurant, he wrote his autograph when writing a check, knowing that this check would never be cashed, because it was signed by Salvador Dali himself, or more significant events - for example, his first meeting with Gala. These facts are found in different books, and it becomes obvious what it was. It was they who became the basis of the performance.

Dali was an innovator in painting. Wouldn't you like to bring something innovative to the theatrical language of the production?

- I want to hide somewhere from modern innovation. Any language - theatrical or literary - first of all, implies the conversation of one person with another. The author is with the audience. This conversation assumes that one person will convey some information to another. Virtually all contemporary art does not strive to be understandable to the average viewer. contemporary artists often put whole explanatory treatises next to their "works". Reading these treatises, you are surprised that they have nothing to do with the work itself ... Such innovation has swept over all forms of art, including theater. I, as a viewer, do not understand what they are talking about. Therefore, I did not have a goal to make an innovative performance, in the modern sense of the word, and never will! The task of art is to convey a thought, mood, emotions - and especially positive ones.

- Positive emotions? They are rare in modern theater...

- This is true. I like it when the theater is a holiday for the audience. And we see this holiday now only in classical ballet where it sounds classical music where everything is beautiful. Why is this holiday not in drama theater?! Basically, everything is shrouded in some kind of darkness. Everything is gloomy, everything is black or, in best case, grey. Everything is bad, or even worse. I noticed that at exhibitions of contemporary art - for example, in the expositions that were presented at the Manifesta 10 biennial or at Erarta - there is no beauty, there is no component that has been valued at all times. You look modern paintings- everything is ugly! Let it be recognized by some critic as brilliant, but it is still ugly. The viewer does not want to plunge into darkness, into everything black, scary, gloomy and, moreover, dirty. If a person is at least a little in himself, then it is quite natural for him to strive to get pleasant emotions, positive charge and enjoy the beauty. Stanislavsky used to say, and we always repeat what he said: “Easier, easier, higher, more fun”. Here are the first words that should have hung over every theater ... "

- In your opinion, the theater should be a holiday. Does this mean that the performance should not have dramatic lines, and the audience will not empathize with the characters?

“Of course it doesn’t. In our performance, the audience will definitely empathize and may even cry at the end, especially the girls. By holiday I mean the uplifting of the human spirit. View interesting movie, a performance or reading a book inspires us, we experience an upsurge. What can not be said about modern art: after viewing, you want to find a rope, soap and a lamppost. I really love the films of Franco Zeffirelli. Take the most famous - " Romeo and Juliet", - everything that happens there, we perceive as a sublime story about incredible strength love, not about how everyone died. Not about how Juliet stabbed herself with a knife, covered everything with blood, and he drank poison and writhed on the floor near her tomb. After this film, you ask yourself questions: “Does this exist in me?”, “Can I love like that?” You get high, you start looking for it in Everyday life, to appreciate the people who are nearby. This is the real holiday!

Premiere
Roman Polanski's cult musical "Dance of the Vampires" (Vienna version 2009).

Vampire Ball is a musical remake of Polanski's The Fearless Vampire Killers (1967). The film was a great success at the box office. 30 years after the release of the picture, Andrew Brownsberg, producer and friend of Roman Polanski, suggested that the director create a theatrical musical based on the film material. Masters such as composer Jim Steinman (co-author of Andrew Lloyd-Webber, author of many hits, writing for Bonnie Tyler, Meat Loaf and Celine Dion) and librettist Michael Kunze (chief translator of all world musicals into German).

"Vampire Ball" ("Tanz der Vampire") is one of the most successful projects in the history of modern European musical theater, rightfully included in the number of the most famous world musicals. Grandiose scenery, magnificent costumes, spectacular choreography and, of course, powerful, mesmerizing music - all this made the "Dance of the Vampires" a real masterpiece.
It should be noted that one of the main themes of the musical is the melody from Bonnie Tyler's hit "Total eclipse of a heart", which won the Grammy Award in 1983.

From the first show in Vienna's Raimund Theater in 1997, to this day, Vampire's Ball has triumphantly marched through the best stages of Europe. For 14 years, the Vampire Ball has been seen by millions of viewers in Austria, Germany, the USA, Japan, Hungary, Poland, Belgium, and Estonia. In 2009, the authors created a new, Viennese version of the musical, with a brighter stage design. Hungarian production designer Kentauer infuses the performance with a gothic sensibility, while music supervisor Michael Reid re-arranges all of the orchestral material. Thanks to the skill of Cornelius Balthus, co-director Roman Polanski, the production becomes even more elegant, deep and acquires many witty nuances. The choreographer of the project is Denis Callohan.

The scale of the project can be judged by the facts alone: during the performance, the scenery changes 75 times, more than 220 original costumes, wigs and make-up options are created, and assistant directors have to give instructions for various stage changes 600 times!

Impression

I won’t write about the musical in detail, firstly, everyone has already heard about it two hundred to five hundred times. Secondly, she wrote Thirdly, I went to it 2 times and this already says a lot, because I don’t watch films or performances twice. Suffocates the price of tickets, very suffocating! But, IMHO, if you go to this musical - then because of the impressive scenery, costumes and voices. Voices, of course, are heard everywhere, but I doubt that the scenery and costumes can be seen from the distant rows of the balcony. So, if you really want to look and get a pleasant experience - welcome to the stalls and the first rows of the balcony!
In general, I say and always said that in St. Petersburg something similar to this musical has not yet been done and, God forbid, someday they will do it!

2. "I'm afraid of love", ie. Lensoviet
at bileter.ru
Performance "I'm afraid of love"

Scenes from the life of the city.
The play refers us to the best examples of Russian dramaturgy, to Volodinsky's "It's a shame to be unhappy" and "Don't part with your loved ones", to Radzinsky's "104 pages about love".
“I’m afraid that I will fall in love, but ... it won’t work. And I no longer have the strength to bummer. I only have happy love there is strength, ”says one of the heroines of the play. Is it possible to get guarantees that it will not hurt, there will be no disappointments and partings? Six actors play the encounters, confessions, deceptions and self-deceptions of dozens different men and women. Past experiences of failed love stories drive new encounters. Heroes are afraid to become dependent on feelings, they are afraid of new traps of fate. Maybe it’s true - “coffee in the morning is already a relationship” and “it is necessary to cut off at the peak until they look into the eyes in the morning”? The heroes of the play are burdened with love experience, children, ex-husbands, wives, abandoned mistresses and unloving lovers ... Life taught me to be careful.
In this story, each viewer will find the features of the present time and himself: someone fearlessly rushes towards new love, and someone will choose spiritual silence.

Impression
Really strong, deep performance. Was at the end of December. The performance collected a large number of doubts, experiences and thoughts completely ordinary people. I was struck by the performance of the people's artist of Russia A. Aleksakhina. Thanks to her, the energy of the performance, expression and feelings were transmitted.
Spectacle - a set of scenes, developing into one story. Love story. A little naive, sometimes cruel, but in general - vital. Indeed, for sure everyone will find himself, his thoughts and feelings in this story.
I can not say that it is very exciting, but 1h.40min. looks easy without intermission! Came out with a friend with mixed impressions, drank coffee for half an hour to "comprehend". I definitely liked it, but, in my opinion, "in the mood." If there is a desire to "dig into yourself", to study your feelings, definitely - "yes"! If you are far from romanticism and other sentimental nonsense and want to see the cynical side of love - perhaps yes. If you are not interested in such topics at all, you will obviously be bored and dull at this performance.

3. "Dovlatov. Five corners", MDT
at bileter.ru
Performance "Dovlatov. Five corners"

Implementation Center creative projects"Admiralteisky" presents the premiere of the play "Dovlatov. Five Corners.

Composition based on stories, letters, poems.
The performance "Dovlatov. Five Corners" is an attempt to reflect the time and its heroes based on stories, poems, radio broadcasts, letters ...
"Five Corners" is the name of an unpublished novel and at the same time the place where the writer lived in Leningrad during his literary formation- a city, the return to which became an unattainable dream of Dovlatov in exile.
The performance uses letters from Sergei Dovlatov from the earliest (army) to the latest (written in New York), poetry, and three stories from the series "Suitcase" and "Ours". Dovlatov's voice sounds the same way.

The play is on without intermission.

Music - N.Volkova. Artist - I. Kanevsky. Lighting designer - A. Makhalova.

Impression
A good and interesting performance, especially for fans of Dovlatov. At one time I read his work "Ours" to holes, as well as a bunch of other books, so this performance was especially interesting to me! I was surprised that one of the chapters of the book was actually read verbatim by heart, "with feeling, with sense, with arrangement." Great charismatic actor, great selection of excerpts! If you love Dovlatov "the way I love him", be sure to go. For me, he and his works appeared in a new light and found a second life. At home, I even re-read my favorite passages of works.
Of the minuses - it is very difficult without intermission and uncomfortable chairs in the chamber hall! Plus in fact complete absence wardrobe and a completely tiny waiting room, combined with a "cloakroom" - that is, hangers standing along the wall.

4. "I.O. or an affair with dressing up", t. Buff
at bileter.ru
Performance "I.O., or Romance in disguise"

A thrilling comedy about love. But love does not exist by itself - it is inscribed at a certain time, in a particular society. And by some sad law, love and society almost always turn out to be antagonists.

The dressing up affair turns out to be a joke, revealing, meanwhile, many problems modern life. The motif used by the author of "mixing up" the characters resembles the plot of Gogol's "Inspector General". However, the satirical line develops in parallel with the lyrical one, which eventually leads to an unexpected denouement.

The performance comes with one intermission.

The performance is intended for an audience of 14 years and older.

Impression
I actually got to the performance at Comrade Buff by accident. Since the theater is located 2 steps from the house, my mother and I wondered why this theater was so distinguished that it was given a new building. Initially, my mother carefully tried to create a negative opinion about the theater, but I tried to be objective. What can I say - this is definitely not an "action-comedy". There was not even a hint of it! In general, the performance is simply "nothing", it can not be called either bad or good. Quite flat and predictable jokes, mostly mediocre acting. I don't understand why fans of Comrade Buff are so enthusiastic about E. Aleksandrov, in my opinion he thoroughly outplayed, even making allowances for the genre. I liked only the game of M. Sultaniyazov, really from the heart and very professionally.
In the performance, I did not see any sense, no substantiated plot, nothing. Jokes, I repeat, were very mediocre. Although in the hall, at the slightest hint of humor, the friendly laughter of the first rows was heard.
We left during the intermission, but here the state of health and business in the evening affected more, I did not want to spend another hour and a half on a generally stupid performance. But it was possible to watch it to the end in theory, at least in order to form a holistic impression. Quite a lot of people left, at least 10-15 people.
Pros - comfortable chairs in a new renovated hall, very well located - on a hill from each other! Once again, I would go to Comrade Buff, but on the first row of the balcony (so as not to regret the money spent on tickets in which case). It is interesting to look at the concepts of other performances and form a complete opinion.
As I understand it, the theater has an extremely specific audience (Madame in a transparent leopard has seen at least five) and extremely specific performances. Not mine for sure, but not as bad as I expected.

5. "Kiss me, Kate", v.Muz.Comedy
at bileter.ru
Musical "Kiss Me Kat"

Broadway Hit at the Musical Comedy Theater
All of America went crazy over him for many years. This is one of the biggest hits of Broadway along with "My lovely lady", "Cats" and "Phantom of the Opera".

Col Porter's music is melodic and easy to remember, it combines poignant lyricism with humor and lightness, and several melodies from this performance have become classics. contemporary jazz. Like all musicals, Kiss Me Kat! has good dramaturgy. The authors of the original libretto Samuel and Bella Spivak took Shakespeare's comedy "The Taming of the Shrew" as a basis. The action in the musical takes place in the middle of the twentieth century, behind the scenes of the theater, during the premiere of the musical version of "The Taming of the Shrew". In "Kiss Me Kat!" the relationship between the actors is bizarrely intertwined with the relationship between Shakespeare's characters. The musical has a lot of humor and detective elements.

Music and lyrics by Col Porter. Libretto by Sam and Bella Spivak. Staging - A.Isakov. Choreographer - N. Reutov.

Impression
Bright, colorful and wonderful musical! Probably the best thing I've ever seen Lately. Lightweight, looks literally in one breath. great game actors and an interesting, multifaceted plot. Very beautiful costumes (as always in Musical Comedy). amazing voice main character, melodic and heartfelt compositions! Gangsters caused admiration and true delight, especially D. Dmitriev conquered. Lovely and light humor, unlike Comrade Buff, jokes caused a smile and created a positive mood. Lots of dance numbers, I really liked the choreography. Really worthy, interesting and very successful musical! Would love to see him again!

There are a few more performances ahead, tickets are available and I'm looking forward to it. Tips for April are accepted with a separate "merci".

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