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Синтезатор любви

Синтезатор любви

Genre:

Author: Sir Alan Ayckbourn

Staging:

Creators: Set design / Sergey Barkhin, Costumes / Tatiana Barkhina, Sound and music / Dmitry Nikolaev, Lighting /

продолжительность: Зч 20м

It is hard to think of anything less compatible than Heifets and Love Synthesizer. But judging fr om the outside he rehearsed with great interest and is satisfied with the result. As is the theatre. Satisfied with what actually? With the fact that those who remained in the shadow of the ‘Mayakovka’ stars until now have finally started taking leading roles. Or that the audience is laughing. That the play is quite unexpected for this theatre, it is contemporary and describes complicated relationship between a human and the products of technological progress. And that the set designer Sergey Barkhin installs a video doorphone, a videophone, a synthesizer and a computer in the apartment that looks like a medieval castle (the floor and the walls are of brick)…

Augshkap and Prokofieva not just act splendidly. Prokofieva as an android strikes with her freedom of physical movement, which on the outside consists in restricted mechanical constraint probably common for any android (at least that is how we imagine them). The audience hesitates to believe that there is a real actress hiding behind the rigid mask. Augshkap as an actress Zoe, on the contrary, does not resemble an actress in any way, does not demonstrate any famous actors’ clichés (in other words, she does not correspond with the stereotype of an actress). Openness with which she expresses her feelings, simplicity of interaction, sincerity and even vulnerability of her character are touching and make one like her.

Grigory Zaslavsky, Nezavisimaya Gazeta, 23 December 2002

The way the actresses Tatiana Augshkap and Olga Prokofieva are living on the stage demands all superlative epithets. Their work is grandiose! Both of them play real women and their mechanical counterparts. One could write a separate ode to the physical movement of androids. The famous line by Walt Whitman could be to the point here: “I Sing The Body Electric!” Leonid Heifets was staging a comedy, and the mechanical women Augshkap and Prokofieva perform the monotony of programmed movements with fabulous technique. However, these androids subtly glow with “non-synthesized” tenderness and femininity from within.

It is when we see the real woman, the actress Zoe in front of us that Tatiana Augshkap demonstrates her spiritual ingenious and temperamental acting, which is slightly over the top as the concentration of contradictory emotions is at its lim it. Such power of stage presence and such lyrical and comic might are rare to be seen on contemporary stage. (Who knows, maybe it is for the sake of this “electric discharge” that the director immersed the actress in aesthetics of not-today’s theatre?). Olga Prokofieva who plays the part of the character’s wife that escaped from computer madness has another tone of existence. She has been destined to play forlornness and hope. The actress confidently strikes the plaintive melodramatic note but preserves the fine comic contour of the role at the same time.

The acting of two brilliant actresses who until now have not occupied the deserved place in the star ensemble of the Mayakovsky Theatre can be considered a bit event.

Natalia Kaminskaya, Kultura, 2002, Nr. 51

The premiere performance took place on 15 December 2001.

Running time: 3 hours 00 minutes

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