Nicola D'Ugo
On December 18 he went on stage, in the beautiful setting of the Hall Petrassi Auditorium of Rome, Moskovskij chor ( The Choir of Moscow , 1988) Ljudmila Petruševskaja, in Russian and Italian with surtitles. The title of the piece helps to understand the element of ambivalence and epic drama which is the warp of each exhibition: the house is the scene of the drama, with its different locations of the rooms, one inside the other, or on the 'other, form a sort of chorus, so, from time to time, the actors break the action to switch to the role of singers, with reasons for the melodic grandeur that happens all'affastellato bickering, the bitterly ironic miserable lives of the protagonists.
The drama is set in the years 1956-57 in Moscow, during the de-Stalinization imposed by Nikita Khrushchev (the 1956 is his "secret speech" on Stalin's crimes), which led to the rehabilitation of many Soviet citizens summarily affected in Since 1937, by death sentences and deportation. This does not mean the end of political persecution, which, in a less heinous, continued to be implemented in Soviet Union, despite the promotion, by the Secretary of the CPSU, the novel by Aleksandr Solzhenitsyn One Day of Ivan Denisovich , which in 1962 was reported, with great irony married to a cold cruel, inhuman and life within socially useless of gulagy .
Petruševskaja In the drama of the entire historical event of international scope as well as national, is reduced to a crowded house, as if the noise event is to find a sympathetic echo in the microcosm of a family divided between domestic and persecution poverty. The house itself, successful theatrical gimmick, is a cluster of rooms and furnishings that form, more than a choir, a juke-box, in which the mechanical movement of tenants is nestled under the comprehensive eye of the beholder. In this house, we celebrate the paradox of family discord produced by the rehabilitation of refugees, since the return of relatives is combined with a suitable accommodation housing and jobs. The house then becomes, through the expedient of return, the place where the vastness of Russia is directed to the individual, compressing it in the social structure that houses it.
holder of the home are women, primarily those of Sasa (played by a too rigid Sergey Vlasov): dall'anziana Lika wife was the mother, the beautiful daughter, Olya, respectively interpreted dall'agile rampant and seventy Tatyana Scuka, from here and incisive Tatyana Rasskazova Teutonic and beautiful, young and promising Ekaterina Rešetnikova, good in the individual situational interpretations, but not yet able to move harmoniously from one register to another emotional. The house in which they live is a place sort of radical family tree, whose government is literally the woman delegate. In fact, to escape the dangers of the outside world, she is forced to find refuge, as the old Lika, her sick sister Neta (Irina demic), returned from Siberia, and the same Olja, Sasa his father refuses to bring in the new household that you have chosen.
The pitfall for women will be set out in various parts of the play: one of them is the dramatic account, made in the register of tragicomic Galja (masterfully played by Elena Kalinina, who is a clever juxtaposition of the different emotional registers and in bringing to the fore a second-tier character in the drama), which tells of sexual harassment suffered and his suicide attempt, was marked by the note in a comic Lora (Ljudmila Motornaja), a cousin Olya. Olja same as the second cousin Katja (Maria Nikiforova) before her, will remain pregnant with a mysterious father. Galja that is not part of the family is an expedient to clarify the protective value of the family.
To keep the family together against the grain is Centripede Lika, which is now presented as the first character intrusive, because, as old mother Saša, remains part of the family, interfering with the mother-daughter relationship between era and Olya. She is to be activated for the rehabilitation of exiled relatives.
So characterized, the invasion of the home is linked, in the modern drama, the most famous model of Harold Pinter, in particular The Homecoming (Homecoming), in which the allocation of space and domestic roles is dramatically destabilized by the visit of his son occurred. In both cases, the destabilization of domestic tranquility is not produced by the relative found, but a conflict inherent in the existing house, which is the parent occurred as a litmus test. In Petruševskaja, however, there is less gloomy than the dramatic atmosphere of the theater looming Pinter, in which the motive of the characters is always pervaded by an aura of mystery. In addition, figures in family conflict, with relentless, plot twists and double meanings, evoke in the mind Italian, plus the scene of Eduardo De Filippo that the Pinter, remaining mindful of the matrix Gogol, not surprisingly evocative, to the perception of the Italian films of typical situations of Toto.
is varied in its juxtaposition of records that you play the best part of writing Petruševskaja, which will aid in the wise direction of Lev Dodin, seconded by a recitation of actors whose overall level of interpretation is very high. The transition from the conversational humor and irony that this farce that is broken in the most bitterly tragic retching is calibrated by a tight rhythm section, which does not allow much improvisation of the individual actor. The actions of the performers are pitted in parallel on the scene, so the setting of the rooms built into each home allows the viewer to follow the different situations without losing anything of what happens on stage, without the knowledge of other characters. These rooms divided into squares serve as isolating the dialogues and monologues of carving the frame.
The presence of the house comes to the public through various devices, starting with the strong smell of cigarettes on stage in one of the food cooked, the disturbance of the handset left off as if it were an accidental room noise, to matches thrown on the floor by a fit of anger Saša bouncing on pubblico in platea. Attraverso questi espedienti Dodin sottolinea l’onnipresenza della casa, e coinvolge lo spettatore nella sua immanente tragedia. La porta d’accesso alla casa è ricavata dalla casa stessa, come se ciò che entra in casa fosse già al suo interno, quale memoria, legame sociale, politico o interpersonale. Questo aspetto della permeabilità dello spazio domestico si ricollega a una tematica cara alla letteratura russa, ampiamente illustrata in romanzi come Delitto e castigo di Dostoevskij e Mosca felice di Platonov. Che la casa sia inevitabilmente permeabile lo segnala una battuta di Lika che, rivolgendosi contrariata a Lënja (Vitalij Pičik) che era entrato senza permesso, gli says that if the door was ajar did not mean that you should enter. Another invasion, symbolically more important is that the policeman (Vladimir Artëmov) who enters a query Olya.
Among the many interpretations of the lucky actors dell'Mdt ( Akademičeskij Malyj Dramatičeskij Teatr - Teatr Evropy : Small Academic Drama Theatre - Theatre of Europe), is reported evidence of the protagonist in the role of Tatyana Scuka Lika, which manages to juxtapose a dramatic moments iconization stereotypical caricatures of their own in a convincing and engaging, inspiring the audience laughed and feelings of being sick di profonda tristezza.
Come rivisitazione del passato remoto, Il coro di Mosca soffre forse una sorta di limite, poiché appare troppo in linea con i dettami del potere centrale dell’era della perestrojka , che ha prodotto sofferenze al popolo russo non di minore entità di quelle del periodo di Nikita Chruščëv, che il dramma sembra criticare. Sotto questo profilo, sarebbe stata forse più interessante una critica alla politica russa del 1988, quale atto persuasivo o documento testimoniale di un’epoca rappresentata attraverso le figure del linguaggio teatrale.
[pubblicato in: Notizie in... Controluce , N. XXIV / 3, marzo 2005, p. 22]
Moskovskij Chor ( Il Coro di Mosca )
Authors: Ljudmila Petruševskaja
Regia: Lev Dodin
Artist: Tat ' jana SCUK, Sergei Vlasov,
Tat'jana Rasskazova, Ekaterina Rešetnikova,
Irina Demic, Nina Semenova, Maria Nikiforova,
Ljudmila Motornaja, Elena Kalinina, Adrian Rostovskij,
Vitaly Pičik, Natal'ja Kalinina, Vladimir Artëmov ,
Li Kuz'min, Anatoly Kolibjanov, Vladimir Seleznev,
Svetlana cord Mikhail Alexandrov, Anna Cernova
Venue: Auditorium di Roma, Sala Petrassi
Dates: 15-18 December 2004
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