Tabakov unnamed star. Trailer of the play "Nameless Star"

When the sun seems to have left us, and there is endless autumn rain outside the window, we really want something bright, positive ... So, it's time to go to the theater, for example, to the play "Nameless Star". This play by the Romanian playwright Mihai Sebastian practically does not leave the Russian theatrical stage and in Moscow alone it goes on the stages of several theaters at once. Most recently, she appeared at the Theater under the direction of Oleg Tabakov, staged by Alexandra Marina With Anya Chipovskaya And Pavel Tabakov starring.

It's time to look into the very "Snuffbox", a cozy basement on Chaplygin Street, which declared itself almost 30 years ago. The play based on which the performance was staged appeared much earlier. In the midst of World War II, Mihai Sebastian, as if in opposition to the horrors of war, wrote the most tender story of unfulfilled love. The Nameless Star was first presented to the public in 1944 and was a resounding success. In 1956, it was "The Nameless Star" staged by Georgy Tovstonogov brought the Bolshoi Drama Theater out of a creative impasse, which was then literally on the verge of collapse.

This is a story about an unexpected meeting of an astronomy teacher from a small provincial town with a mysterious beautiful stranger from the capital, who was dropped off at the station of this outback for a ticketless trip. She is wearing an expensive dress, but in her purse - only perfume and casino chips. He wears a worn suit and ancient boots, since he spends all the money he earns on books. They seem to live in parallel worlds. They may have been made for each other, but as you know, "no star deviates from its path."

The play is written about the impossibility happy love, one that comes to us in dreams, about which we dream. Such love happens only in the past, in our memories, when we think that it was then that we were happy, ”said the director on the eve of the premiere. Alexander Marin. Both in the play itself and in the performance, drama and comedy, dreams and disappointment coexist. Each character lives in a real, boring and monotonous world, but dreams of a different life, happy and beautiful. Isn't that how almost every one of us lives? That is why this performance finds such a response from the audience. Everyone in the hall was involved in the action taking place on the stage and reacted to the mise-en-scene as frankly as it rarely happens in today's theatre. The “reaction to reaction” was sometimes funny: “ah” involuntarily escaping from the lips of one of the spectators - as if Mona (Anya Chipovskaya) slapped him, and not her friend Grieg ( Vyacheslav Chepurchenko), who appeared so inopportunely after her - caused surprised and approving laughter from the whole hall. In this production, it is impossible to divide the characters into "main" and "non-main" - everyone is equal here. How deliciously conveys the image of his sensual hero, the head of the station, the artist Sergey Belyaev, and how unthinkably grotesque Mademoiselle Cookou Alena Lapteva.

Respect is absurd at first music teacher and author of the symphony Udrya Fyodor Lavrov, which no one needs in this musty town. All the actors involved in the performance seem to be created for their role. In this situation, it is difficult to evaluate the performance of the leading actors - they were absolutely adequate to their heroes. Irresistible Anya Chipovskaya (Mona) in a silvery dress seemed to have descended from heaven into that provincial town. “And the shoulders are bare, and the arms are bare, and the back is bare,” the stationmaster kept repeating, looking at this marvelous marvel. And Pavel Tabakov (Miroya), with his gentle youthful oval face, fits the role like no other pure in heart astronomy teacher. I involuntarily recalled our old film based on this play, shot Mikhail Kozakov in 1978. Then in the "Nameless Star" the main roles were played by Igor Kostolevsky And Anastasia Vertinskaya. It seemed that few people would be able to compete with them from Tabakerka, but Anna Chipovskaya and Pavel Tabakov did it.

On the approaches to the theater on Chaplygin Street, bright posters announce the main event of the new season - the opening of new scene"Snuffboxes" on Sukharevskaya Square: "With a new home, Oleg Pavlovich!". There, the audience will be delighted with new productions, and, of course, new names will also shine. But the play "Nameless Star" is undoubtedly destined for long life. Not all theater-goers tend to participate in the "mind games" of fashionable directors. For the most part, the public prefers the good old theater, where the main thing is good dramaturgy and acting.

Russian academic youth theater(RAMT) April 13, 2018 invites the audience to the play "Nameless Star" musical theater Novosibirsk. Annually by the Expert Commission of the Prize " Golden Mask» a selection is made among the performances of the whole country. 2018 nominee National Festival was the musical "Nameless Star" directed by Philip Razenkov.

A story about pure and bright love during the Great Patriotic War not the first time it is presented on the stage of the theater. Many directors and film directors in their work turned to the plot of the play by the Romanian playwright Iosif Gechter (pseudonym - Mihail Sebastian).

The work "Nameless Star" itself was written in 1942 in occupied Romania. A romantic story with a tragic ending tells about the love of two people: Mona and Marina. They meet at night at the provincial train station, when the stowaway Mona is dropped off the train. A real gentleman, Marin invites the wanderer to his house, where they talk all night about the stars. During the conversation, imperceptibly for themselves, young people fall in love with each other. But their small and cozy world is not ready to compete with the surrounding reality. Beautiful Mona, a city dweller, is not accepted in the provinces and is forced to leave the Marina. Her lover takes her and Mona breaks up with the astronomer forever.

After the war, the play became extremely popular. In the role of Mona, the first beauties shone on the stages of theaters and on the screens, in particular Marina Vladi and Anastasia Vertinskaya.

Quite often, theater-goers and critics draw a direct parallel between the work "The Nameless Star" and the ballet "Manon Lescaut". Two stories are similar to each other in the motives of love of two heroes from different worlds And tragic end their attachment to each other.

Directed by the young director Philip Razenkov, the play "The Nameless Star" was filled with musical compositions and dance numbers performed by the best artists choir and ballet. Starring: Valentina Voronina, Evgeny Dudnik, Roman Romashov, Evgenia Ogneva, Alexander Kryukov, Vadim Kirichenko, Anastasia Kachalova and others.

For Razenkov, the musical "Nameless Star" is not the first production nominated for the Golden Mask Award. In 2015, his work "Maid of Orleans" was already included in the poster of the Russian National Festival.

Buy tickets for the musical performance "Nameless Star" at the RAMT Theater

Musical performances are not permanent nominees for the Award. But the appearance of the musical "Nameless Star" in the shortlist of the Golden Mask Award 2018 speaks of the great work done by director Philip Razenkov and his team. You can buy a ticket for the play "Nameless Star" on our website both online and by phone. Our managers will tell you in detail about the performance and select for you best places. When ordering online, you fill in your contact information and choose a payment method:

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Love stories may have a tragic ending, but the feeling itself remains eternal.

The play "The Nameless Star" at the Oleg Tabakov Theater

Spectators are kindly requested to specify the venue of the event due to a technical failure.

Mihai Sebastian is a Romanian novelist and playwright. His most famous play, The Nameless Star, was written at the height of the war, in 1942. An amazing passenger arrives in a tiny Romanian town on a courier: a chic dress, expensive perfume, exquisite cosmetics - and not a penny in your pocket. What brought her here, where ducks roam right around the station, and local schoolchildren come running to look at the fast train as if it were an unprecedented miracle? This question is asked by a young astronomy teacher at a local school.

Full of surprises, the story of a sudden flash of love balances between comedy and drama, between lyrics and farce, laughter and tears. The heroes of the play "The Nameless Star" are trying to resolve simple and at the same time extremely complex questions: is happiness possible without money, is it possible to drastically change the usual way of secular life for the sake of love.

Lyrical comedy by M. Sebastian in 2 acts
Translated from Romanian by M. Stepnova
Director - z.d. of Arts of Russia Veniamin Filshtinsky
Artist - Honored Artist of Russia Vladimir Firer
Composer - Irina Tseslyukevich
Lighting designer - Gleb Filshtinsky

The play "Nameless Star" is a story of two: a touching, beautiful and romantic meeting between an astronomy teacher and a secular beauty. Their love arises like a sudden starfall that spilled on Small town. A subtle, graceful comedy about a naive astronomy teacher. About a visionary girl who flashed like a mirage in the life of a provincial town and its inhabitants. About what is easier to open in the sky new star than to understand and keep your beloved close by ...
The story of a star who wanted to deviate from her path and could not, is familiar to the general public from the film by Mikhail Kazakov. In St. Petersburg, in the play "The Nameless Star", the main characters are played by magnificent artists Rodion Prikhodko and Evgenia Igumnova.

The premiere took place on June 20, 2004
Performance duration - 3 hours with intermission

Actors and performers:

Press about the play

ABOUT "To the Nameless Star"// Calendar TIME OUT St. Petersburg, September 2004.
This intelligent ... performance graced the repertoire of the Komissarzhevskaya Theatre. Alexander Bargman and Tatyana Kuznetsova sometimes make you forget about their film predecessors - Igor Kostolevsky and Anastasia Vertinskaya. Bargman writes out the teacher Miroya in detail... What is certain is that the slovenly disheveled quiet genius in a greasy jacket and wrinkled trousers with the manners of a dangerous madman is not at all quiet and not nice. Icy flickering, as befits a star, Tatyana Kuznetsova's Mona plays more restrained shades of cold despair, childish spontaneity and female coquetry. The theme of the cosmic loneliness of the heroes and the repressiveness of society in relation to the individual person came to the fore - no matter what it is: a rotten provincial or a brilliant metropolitan one. The light of Gleb Filshtinsky is charming as always. And lanterns, stars and frosted screen doors, as always, magical Vladimir Firer is forced to forget that the action takes place in a provincial town.

In her interview, Evgenia Igumnova, an actress involved in the rehearsals of the Nameless Star, compared this play with Lars von Trier's Dogville...
The remark is subtle. Here is a modern vision of the play, a person who is not burdened by the burden of staging Tovstonogov with the brilliant Strzhelchik, Olkhina, Krymov, Lebedev in the role of Mademoiselle Kuku. Here is the perception of the play, which it is time to write down in the column of world classics. What do you think about this? - The play is a bit timeless. Since the play is 60 years old and if it pops up, it means it's a classic. If a movie has become a cult, then it is a classic. Cinema human, in which Kazakov very carefully approached the play. Circle of classics. There is something Chekhovian in it, I felt it right away.
- Who is the main character?
As the name suggests, Mona. How would she, because the story is about a star who wanted to deviate from her path and could not. She is in the center though. But the Master also wanted to deviate, and did not deviate. Grieg said that it was not realistic to deviate. And Mademoiselle Kuku would have liked it, but it didn't work out. Therefore, the predetermination of human life - fatal or not fatal - can be. and is the theme of the play. Predestination and the ability to break into something new. Desire and impossibility. The most vulgar, most provincial hero of history is the head of the station. But he also has vague dreams. He, for example, wants to stop diesel at this half-station. Here is the dream. But the diesel rushes by. There is a desire to stop something. The play is philosophical. The possibility of a different way of man. At the same time, she is beautiful in her melodrama. An amazing combination of accessibility of perception and depth of ideas. It is no coincidence that there are stars here, the names of great astronomers - Kepler, Copernicus.
- Do you agree with this predetermination, fate? Or is that obsession possible that would allow you to break out of orbit, jump out of the well-trodden philistine rut?
“Listen, if the stars are lit, does it mean that someone needs it?” But in this case, breaking out of orbit, you can destroy the whole world. Or your destiny, maybe. In any case, I would like that at the end, as in the play, the audience would feel regret about what did not happen in her life and in his life.
In this case, you still provoke the viewer to frenzy
Do you expect someone else to do it? Probability, possibility, existence of another way. Here is the main thing to remember. There are other ways. In this case, these are railway tracks - from point A to point B. They do not know other ways. That's why they stand idle for hours on the platform, waiting for a fast train to see someone else's life flying by and so unlike theirs. There are other ways. At least the way of this teacher. He remained a teacher in a provincial town, a passionate astronomer, a discoverer of stars, spending his salary on an incomprehensible book that no one but him needed.
Is the ethnographic aspect of the play important to you, or is it still a universal story?
I think it's both. This is pre-war time, Romania, a symbol of the province of Europe, the outskirts of Europe. It is no coincidence that this is here. I would like to make the performance so that it gets into our time. I don't know how it will work for us. It depends on how the role of Grieg will unwind.
The performance will be, as it is fashionable, out of time?
No, it will not be updated. So far, I have no appetite for it. It will be Romania in the 1930s. I can't not declare it. This is my and my brigade's modesty of refusing to modernize. But if you want, there is also indiscretion: you want to be close to Mozart. I want to fly. If possible, a poetic takeoff. We want to take off. But not due to the fact that Grieg will be a new Russian, but due to internal things. According to the theory of probability, one ball suddenly destroyed the whole system, which works well. And it was not a star, but a comet, the Tunguska meteorite. So this beautiful stranger blew up the life of the whole city. I do not think that after her departure, life will continue its serene course. The leap had taken place, and it was supposed to shift the axis of this musty life. And Kuku herself will go astray, constantly remembering the unearthly beauty of a girl who allowed herself to be Beautiful.
The life of the town will change in a dramatic way?
The life of Uncle Vanya's characters will also change at the end of the play. They reconciled, but they are already in another dimension. Sonya rises to religion, Voinitsky approaches the tragedy of being...
Do you admit that the actors in the process of work can correct the meaning of the performance?
And how! I not only admit it, I stand by it. Because it all depends on the artist. The level of the actors, their awakening on this topic, in the end, predetermines the quality of the performance. If they don’t wake up on their own or with my help on this topic, it will be nonsense, it will be narrative, nothing more. The level of the theater is determined by the scale of the artists.
What about the super puppet idea?
You can swear by a super puppet, but for this you need Meyerhold. If he was - for God's sake. Probably, art can also appear at the level of a puppet, who knows. But we just don't see it. There are formally talented things that in themselves have explosive energy, but all the same, if there is no deep connection with the artist, nothing will come of it.

IN drama theater named after V.F. Komissarzhevskaya, the 100th performance of "Nameless Star" was played
Roman Litvinov plays a Romanian peasant in the performance - a small episode that is very dear to him. To celebrate his 70th birthday on January 24, the actor chose the "Nameless Star". For thirty years the artist has been serving in the theater named after VF Komissarzhevskaya. He studied with Professor Boris Zon, worked at the Lenin Komsomol Theater, at the Russian Drama Theater. A. Griboyedov in Georgia. Today, Roman Litvinov can be seen in the performances "Nameless Star", "Twelve Months", "Jester Balakirev", as well as in the film version of Vladimir Bortko's "The Master and Margarita"

We recently played the 100th performance of The Nameless Star. The director of this performance is Veniamin Filshtinsky, now one of the most famous theater teachers in the country, professor. I studied on the course of Boris Vulfovich Zon one or two years before him. When he came to us to stage this performance and saw me, he was very happy. The play "Nameless Star" is not the first hundred in the list of my performances. We have already played the 100th performance of "Jester Balakirev", back in Lenkom I played "Visible Song" and "West Side Story" - performances of the famous course of G. Tovstonogov. After the premiere of The Nameless Star, Venya Filshtinsky wrote to me on the program: “I am very glad to meet you, but I didn’t even imagine that it would be like this!” We rehearsed very easily. I came up with the image of a Romanian peasant, and for each performance I don’t shave on purpose for 5-7 days - this is already my make-up. I also came up with a saying - although, I have it more Ukrainian than Romanian.
I love all my roles that I play now: both in “Jester Balakirev”, and in the children's fairy tale “Twelve Months” (though my soldier is old, but the role is big!), And in “The Nameless Star”.
Once, having worked for almost twelve years in Lenkom (now the theater-festival Baltic House), he left for Sandro Tovstonogov (son of Georgy Tovstonogov) in Georgia. When Sandro was leaving for Moscow, I returned to St. Petersburg and, on his advice, turned to Viktor Novikov, now the Artistic Director of the Theater. V. F. Komissarzhevskaya. They were friends with Sandro, studied together for a year at the theater department of LGITMiK. Novikov offered to appear in this theater - and since then I have been working here with pleasure. I played a lot of big roles with Sandro, but here Ruben Sergeevich Agamirzyan immediately warned that I would not play such roles here, but it was always very interesting to work with him. But in Theatre Institute I didn't go right away. After graduating from school, literally the next day I was already working in such an institution as the Funeral Home, where I was a Word Cutter - I beat out inscriptions. In our lobby there is a memorial plaque dedicated to Ruben Agamirzyan - I knocked it out. I worked for two years and, on the advice of my father, entered the Vilna Pedagogical Institute. At school, I had a wonderful chemistry teacher - a handsome, gray-haired man who taught his subject like poetry. However, at the institute, I suffered complete disappointment in the profession. But there was an amateur theater, where I came. It turned out that I have good voice- 3.5 octaves (I'm a little short of Penkin, but it's not scary). When I decided to leave the institute, teachers of the amateur theater said that I should enter the Theater Institute and advised me to go to Kharkov or Leningrad. Once, as a boy, I dreamed of visiting three cities - Kyiv, Odessa and Leningrad. And now my dream has come true - I live in Leningrad and I have a family here - my wife, daughter, son-in-law, granddaughter.
Boris Zon said that the theater is above all, and we believed in it - and still believe. Despite a solid anniversary, I still hope to play my best role...

Actor and Honored Worker of Culture of Russia Alexander Vontov plays the role of the Head of the Station in the play - a characteristic, bright, memorable role. He was accepted into the theater troupe in 1977 - immediately after graduating from LGITMiK in the acting class of Professor R.S. Agamirzyan. Over the years, he has played countless roles, but the play "Nameless Star" is still one of the most beloved.
While rehearsing The Nameless Star, we seemed to plunge into the institute again - with a film of visions, biography of the characters - everything is very detailed. It was both rewarding and nostalgic at the same time. I really enjoyed the rehearsals. For me, this performance is about love and human loneliness. Throughout life, a person is alone, and suddenly there are seconds of enlightenment, something worth living for - a feeling and a premonition of love. By and large, we are all alone, although, for example, I am self-sufficient, and I am not bored with myself - there are, as it were, two of us. I turn on the computer - and you can chat with a person, there is someone to drink with: Alexander Borisovich, be healthy! - And you, be! It's not boring anymore. And then, I have so many people around me who will not let me be lonely - a wonderful daughter, friends, loved ones, my mother - thank God, she is alive and well. Nevertheless, when we rehearsed the performance, different thoughts arose, different states. Favorite roles are all like children raised by me and the director. I also like to play the play “Not far from God” in our theater, in which I play. But with the performance "Satisfy my sorrows" - another story. At one time, I really wanted to play in it, but another artist was appointed. And suddenly the situation changed dramatically. As a result, I played the desired role.
Wonderful people worked in our theater, talented people. For example, with the director Volodya Vorobyov, I was lucky enough to rehearse the play "Bumbarash". The rehearsals were difficult - they argued for a long time, swore, and then we had a clear understanding, and then he worked with our artists with pleasure. The director Gennady Oporkov also staged “The Ballad of a Soldier” here, where I had a small role as Major - it was very interesting to rehearse. The director, it seems to me, should love the actor, and the actor should love the theater. My and older generations were very lucky to have teachers and directors: Ruben Agamirzyan and Vladimir Petrov gave us a lot - not only as artists, but also as people.
I have some very warm and tart memories associated with each era of our theater. I came here with my classmates, but I was 4 years older than everyone else - I served in the army. We wanted a lot - sometimes we were slowed down, extinguished, but we still came up with something, did something. I look at our young guys and understand that we were the same goofballs, but previous generations were also hooligans. When I came to the theater, they told me about what our older generation- we never dreamed ... And over the years, some kind of tediousness appears: what kind of artists were, and you ... In fact, nothing changes, nothing, and each age has its own charm. In principle, for me there were two eras in the theater - I came when Ruben Agamirzyan was in charge of the theater, in 1991 he died, and artistic director Victor Novikov became one of the most intelligent leaders of our city.
During the rehearsals of the “Nameless Star”, it came to an understanding that I had taken place. You can, of course, strive for more and more, wanting more and more - for sure. I don't consider myself great, but I try to do what I can honestly. Once I dreamed of playing Cyrano de Bergerac - I adored this play, I watched it in Lenkom with Petya Gorin countless times. It was a dream - like that very Nameless Star in our performance - but now I understand that “the train has left” and, God forbid, do well what they give.
The Komissarzhevskaya Theater is everything for me - home, family, life. And we now have a wonderful young generation. Some of them are already talented partners: such as Vanya Vasilyev, Vova Krylov (of those whom I had to deal with). I really appreciate the partnership in the actor when they look into the eyes. This is also a gift from God. Probably, this can be brought up, but this requires a talented teacher. Veniamin Filshtinsky, who staged The Nameless Star, is not only a talented director, but also a unique teacher. I would like to wish our performance a long life, and the guys and myself in the profession - health and a healthy attitude towards it. And the audience would like to wish pleasure during the performance and Have a good mood after. It seems to me that now the viewer is going to receive positive emotions in the theater, and not to load oneself with problems - there are plenty of problems in life .. Why are comedies very successful and people go to them? Because there is enough tragedy in life. And the play “Nameless Star” is a spectrum of the most diverse emotions, and the main thing in it is the feeling of love….

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