antohins.vtheatre.net: one family, one century (doc)
ShowCases: 3 Sisters, Mikado, 12th Night, Hamlet, The Importance of Being Earnest, Dangerous Liaisons, Don Juan
prof. Anatoly Antohin Theatre UAF AK 99775 USA
Summary2007 updates -- russian.vtheatre.net
The Possessed 2003
2004 & After
Month in Moscow Summer Program
Специальность “Режиссура (профессиональный театр и кино)”
Поступающие на специальность “Режиссура” должны пройти отборочные консультации (туры). Сроки проведения консультаций с 17 апреля по 30 июня.
За неделю до консультаций необходимо сдать режиссерскую экспликацию по пьесе одного из известных драматургов (список пьес прилагается).
Отборочные консультации (туры) и сам экзамен по специальности состоят из следующих разделов:
чтение басни, стиха, прозы (в одном потоке с абитуриентами, поступающими на специальность “Мастерство актера”; классная режиссерская работа по предложенным сценам из четырех-пяти заданных пьес по общему списку;
постановка этюдов на свободную тему с минимумом слов;
собеседование с членами экзаменационной комиссии;
коллоквиум по общей культуре (литература, история, музыка, психология, политика и пр.)
Каждый из разделов оценивается по 10-ти балльной системе.СПИСОК Пьес для поступающих на отделение “Режиссура” Е.Шварц “Голый король” А.Володин “Пять вечеров” А. Вампилов “Старший сын” Л. Петрушевская “Любовь” А. Галин “Ретро” М.Рощин “Валентин и Валентина” Н.Эрдман “Самоубийца” А.Арбузов “Таня” М.Булгаков “Дни Турбиных” С.Мрожек “В открытом море” А.Н.Островский “Гроза” А.П.Чехов “Чайка” А.М.Горький “На дне” А.С.Грибоедов “Горе от ума” Н.В.гоголь “Женитьба” А.В.Сухово-Кобылин “Смерть Тарелкина” Д.И.Фонвизин “Недоросль” М.Ю.Лермонтов “Маскарад” Мольер “Плутни Скопена” Бомарше “Женитьба Фигаро” Лопе де Вега “Собака на сене” Гольдони “Слуга двух господ” Ибсен “Гедда Габлер” Осборн “Оглянись во гневе” Олби “Случай в зоопарке” Миллер “Смерть коммивояжера” О’Нил “Долгое путешествие в ночь” Пинтер “Коллекция” Беккет “В ожидании Годо” Уильямс “Стеклянный зверинец” Пиранделло “Шесть персонажей в поисках автора” Шоу “Пигмалион” Шекспир “Гамлет”, “Укрощение строптивой” Шиллер “Коварство и любовь” Дюренматт “Ромул великий”УСЛОВИЯ ПОСТУПЛЕНИЯ ИНОСТРАННЫХ ГРАЖДАН
Необходимым условием поступления является знание основ русского языка.
Для экзамена по специальности предлагается подготовить прозу, стихотворение и басню
(желательно читать на русском языке)
Абитуриенты, сдавшие экзамен по специальности, проходят собеседование по общей культуре и пишут сочинение на свободную тему на родном языке.
Для оформления въездной визы на территорию России необходимо выслать в наш адрес следующие документы: копию национального паспорта, адрес, название места работы или учебы, указать место получения визы.
С 2000 года Школа-студия МХАТ имеет краткосрочные программы театрального образования (от 3-х месяцев до года).
Moscow was very Russian city. Place of my birth. Moscow is Russia for me. That's all my heart knows about Russia. Time -- fifties, sisties, seventies... This Moscow is no more.Bell Tower (Cathedral of Ivan the Great), Jahann Philipp Eduard
I can't return... not in time.
No, not even Moscow, just a few places in Moscow...
...sometimes I think it is one corner in the Old Moscow...
[ no time to restore the images ]
Red SquareMAXT: Russian theater specializing in naturalism, founded in 1898 by K. Stanislavsky (as artistic director) and Vladimir Nemirovich-Danchenko (administrative director) with the goal of replacing old-fashioned histrionic acting and heavy-handed staging with a simpler and truer style. It opened with A. Tolstoy's Tsar Fyodor Ioannovich and won its first major success with A. Chekhov's The Seagull. Along with other plays by Chekhov, the theater mounted new works by writers such as M. Gorky and M. Maeterlinck. Its company received acclaim on European and U.S. tours in 1922 and influenced later theatrical development worldwide. Since 1939 it has been known as the Moscow Academic Art Theatre. (Summer 2002) Golden Mask Fest.School of MXAT:
Следует сказать о работе Школы-студии в соединенных Штатах Америки. В 1992 году в Бостоне была открыта Летняя школа им. К.С.Станиславского, где каждое лето студенты занимаются по специально разработанной программе. На сегодня программу Летней школы окончили уже более 200 молодых актеров и режиссеров из США, Канады, Франции, Великобритании, Швейцарии и Японии. В 1994 году была создана совместная аспирантура для актеров Школы-студии МХАТ и Carnegie Mellon University в Питтсбурге (США).
С 1998 года аспирантура работает совместно с Институтом высшего театрального образования при Гарвардском университете.
Обучение в двухлетней аспирантской программе ведется по единому учебному плану, включающим занятия мастерством, сценической речью, сценическим движением, танцем, ритмом, историей театра и русским языком.
Обязателен выпуск двух спектаклей в постановке американского и российского режиссеров. Спектакли идут на английском языке на сцене Учебного театра Школы-студии.
Russia is my imagination...
What else memory could be?
From Russian Theatre
@1998-2002 Anatoly Antohin *
projects: my shows
in focus: Small Chekhov 2006
Pre-publication version of a review to be published in the Moscow Times Dec. 30, 2003. Any and all quotations of, or references to, this article must cite John Freedman. (c) 2003 John Freedman. The final version will be available with accompanying photo on Tues. Dec. 30 in the Metropolis section at www.themoscowtimes.com or www.tmtmetropolis.ru ------------------------------- By John Freedman You have to love Vladimir Mirzoyev for his independence. Here is a director who, over the last half-decade, rose beyond the status of cult figure to bona fide popularity with a series of often obscure, though strangely evocative productions based on the classics. His oversized, epic interpretations of Moliere's "Amphitryon", Rostand's "Cyrano de Bergerac" and, recently, Shakespeare's "King Lear" at the Vakhtangov Theater have been big hits for that playhouse while seldom straying far from controversy. What a surprise, then, to see the show that he chose to kick off his tenure as the new artistic director at the Stanislavsky Drama Theater. Not that this production of Lyudmila Ulitskaya's "Seven Saints from the Village of Bryukho" won't cause its share of talk. It presumably will. That is what Mirzoyev's shows do. Fire burns, water cools and Mirzoyev instigates debate. No, what intrigues here is the way the director rejected the large canvas style that has brought him such success of late and, in part, at least, returned to a more intimate and mystical atmosphere. As a staff director at the Stanislavsky in the '90s, Mirzoyev created a handful of shows that were so difficult to define, critics and spectators alike gave them a wide berth. These short-lived pieces included Alexei Kazantsev's "That, This Other World," a vague though often beautiful show representing a man's thoughts on the verge of death; and "In Search of the Beautiful," a show combining modern dance, physical theater and music and based on the esoteric teachings of Georgy Gurdjieff. The first half, especially, of "Seven Saints" seems to have grown directly out of these older shows. Whether today's audiences will be any more receptive to it than they were to similar shows in the past remains to be seen. But it is just like Mirzoyev to go about his business without wasting time asking himself such questions. Ulitskaya, best known as the author of the story "Sonechka" and such novels as "Medea and Her Children" and "Kukotsky's Case," would appear to have written a fairly traditional play about some unusual people in a small Russian village shortly after the Revolution. The first half focuses primarily on the odd, rather imperious Dusya (Olga Lapshina), a wheelchair-bound woman with mysterious powers who has attracted a large following of women and men who turn to her in times of need. The second half focuses on Rogov (Alexander Samoilenko), a local thug who has seized control of the village and is determined to bring everyone in it under his power. Mirzoyev plays theatrical games with almost everyone and everything in the story. At first glance it is difficult to determine where the action takes place. The plain white walls lining Vladimir Kovalchuk's set would satisfactorily imitate those of a monastery, an insane asylum or a typical Soviet community hall space. By the same token, the behavior of Dusya and the women surrounding her might indicate equally that they are nuns or crazies. This ambiguity is characteristic of Mirzoyev and expands the scope of the production by giving it numerous possible interpretations. Dusya sits in a huge chair that is as much a baby's high chair as it is a wheelchair. She leads, castigates and protects a gaggle of vastly different women, including the pious Antonina (Natalya Orlova) and the temperamental upstart Marya (Natalya Pavlenkova). One of them, Manya, is a man masquerading as a female. This is one mystery that Mirzoyev tips off up front - by casting the actor Lera Gorin in the role of the bizarre, Buddah-like woman. As played by Lapshina, Dusya is both entirely focused and eccentric at the same time. Jilted by her fiance in her youth and unable to walk, she tends to a brood of "children" represented by dolls that she repeatedly pulls out to play with. She is always ready to offer valuable advice to people in distress - such as Timosha (Anton Eldarov), the youth who goes AWOL from serving under Rogov, or Father Vasily (Valery Simonov), a priest who fears being accused of stealing icons. But it is not the story itself or even the characterizations that define the first half of this show. Using the rich layers of folk music performed by the entire cast plus the vocalists Anastasia Begunova and Lada Maris, and setting the musical segments in unusual dance patterns choreographed by Artur Oshchepkov, Mirzoyev creates a ritualistic, otherworldly atmosphere, seductive in the self-evident beauty of its mystery. These people, blessed in some way that may not meet the average eye, live in a semi-dream state where child's play and the grace of God are indistinguishable. Moving slowly and gently about the stage, the characters appear to caress each other's unseen souls with large, rhythmic gestures of the hands concentrated around the head. In springy, hopping steps, they move about the stage as if percolating. The world of Dusya and her women is not ideal by any stretch of the imagination. It is fraught with problems, tragic and petty. This is not a place of divine perfection, but one where the clumsiness of life exists on a single plane with divinity. That all comes to an end when Rogov intrudes. The second half of "Seven Saints" undergoes an abrupt change in genre and style. The hazy, suggestive ambiance of the first half is now replaced by what is almost conventional theatrical satire. Rogov - a Joseph Stalin look-alike who nonchalantly asks a make-up woman to glue his moustache back on each time it falls off - has not only come to ferret out the errant Timosha, but to enlist others in his effort to conquer the town. It takes him no time at all to bring the unthinking, unprincipled Nadya (Lyudmila Kozakova) and the town drunkard Golovanov (Mark Geikhman) over to his side as he ploys them with a poisonous mix of facetious courtesy and cruelty. After appointing them his helpers, he tricks them into signing death warrants in blood and coerces the terrified Timosha into becoming his executioner, the quivering man who will make saints of Dusya and six others. When the weird and wonderful music and dances of the first half are reprised now, the effect is vastly different. Rogov's search of Dusya's abode is a mocking, desecrated echo of the joy and innocence that similar scenes had evoked earlier. "Seven Saints from the Village of Bryukho" appears to be Mirzoyev's attempt to get back in touch with a technique that he experimented with and then abandoned several years ago. Frankly, the results are uneven. Though often mesmerizingly beautiful, the obscurity of the first half can be daunting. Meanwhile, the traditional tragicomedy of the second half, though clear as a bell, can lack the richness of Mirzoyev's best work. But on the whole, this show works because its sincerity is tangible. Mirzoyev, stepping into place as the Stanislavsky's new leader, has sent a message that he plans to do more than merely duplicate past successes.
Pre-publication version of a review that will be published in The Moscow Times April 1, 2005. Any and all quotations of, or references to, this article must cite John Freedman. © 2005 John Freedman. The final version - as well as a parallel review by The Moscow Times' music critic Ray Stults - will be available (with accompanying photos) on Friday in the Context section of The Moscow Times at www.themoscowtimes.com/context ------------------------------- By John Freedman How ironic that the Bolshoi Theater’s “The Children of Rosenthal” is on the tongues of so many in the world this week for all the wrong reasons. Why did one politician start crying “pornography” before he’d heard or seen anything? Was a youth group really preparing to disrupt the premiere? Is it possible that the Bolshoi, or someone around it, actually orchestrated this to guarantee a publicity blitz? Or was the goal even bigger – to wheedle another million or two out of someone’s coffers to help finance the reconstruction of the Bolshoi’s main building? And the media; they couldn’t be jumping on a careening bandwagon simply because it’s there, could they? You know what? I don’t give a damn. And here’s why: “The Children of Rosenthal” is the real thing, fresh, funny and lively. It is probably the most original work the Bolshoi has produced in recent memory. It is, after all, the first contemporary opera the theater has mounted in, count ’em, 26 years. For some of us who dwell beyond the pale of the tight-knit circle of opera devotees, the genre has smelled of carrion and layered museum dust for, oh, a good 50 to 80 years. The same old pomp and the same old circumstances rehashed and regurgitated. “The Children of Rosenthal” skips right over all of that. As in all good theater, it was a team effort. There are no two ways about it; the music by Leonid Desyatnikov is pleasant and catchy. But from the point of view of someone steeped in the lowly anarchy and crude clumsiness of dramatic theater, it was the writer and the director who engineered this show’s triumph. The libretto by Vladimir Sorokin, the apparent cause of the pre-premiere scandal due to his reputation as a controversial novelist, is a model of brevity, wit and dynamism – to say nothing of chastity. The direction by the renowned Eimuntas Nekrosius is everything you would expect from this wizard of detail, and more. Sorokin’s story about a scientist who, through cloning processes developed in Hitler’s Germany and perfected in Stalin’s Soviet Union, brings back five great composers from the dead is a perfect match for a genre like opera with all its pageantry, conventions and love of everything bigger than life. The early focus is on Rosenthal and his laboratory, but once he “gives rebirth” to Mussorgsky, Tchaikovsky, Verdi, Wagner and Mozart, they become the focus. Travesty meets tragedy when the five geniuses are cast into the street amidst swarms of grungy, hostile people and animals. With a few clever, economic strokes – usually a disembodied voice narrating brief details – Sorokin expands the tale to reflect far-reaching political and social realities in the 20th century. Some of these moments, such as the televised face of Boris Yeltsin announcing it is “time to stop this Stalinist nonsense” evoked a burst of applause from the crowd at the second performance last week. Perhaps one of the most intriguing aspects of “The Children of Rosenthal” is that it is a futuristic story set in the relatively distant past. That makes it a fascinating artistic commentary on the speed with which our world now changes. The vertigo of taking a glimpse into the future by looking into the past is both bracing and entertaining thanks to the intelligence and humor that the troika of creators brings to the show. All of them play joyfully with the cliches of opera, creating a work that parodies and parries with the operatic tradition but is strong enough to stand on its own. Sorokin and Desyatnikov supply several sublime quotes from Tchaikovsky’s “Eugene Onegin,” creating an amusing confusion of character, art, history and reality. Nekrosius provides a signal almost immediately that he has no intention of taking the rituals of opera seriously: During the opening minutes he has a prompter’s box race and spin across the stage as though it has been cut loose of its moorings and the prompter inside it has gone berzerk. The relentless, eccentric activity that Nekrosius creates on stage primarily with the chorus and the corps de ballet, but also with the principals, vividly brings to life the chaos of a world being turned upside down. In one scene, a mock lyrical tryst of Tchaikovsky and his nanny that echoes “Eugene Onegin,” he even has a group of delinquent children run out on stage to overturn the table the nanny has just set. As in his prodigious dramatic productions, Nekrosius almost always has three or four layers of action occurring on stage at any one time. It makes for a feast of impressions. The cast at the Bolshoi eagerly takes to Nekrosius’ physical jokes and skits, so unusual in opera where the singing is expected to overshadow everything else. I thought the entire corps de ballet and Maxim Paster’s sad-sack Tchaikovsky were especially good, although by saying so I do a disservice to many lively performers. In short, “The Children of Rosenthal” deserves every bit of attention it gets – because it is a marvelous piece of theater with music.
Film-North * Anatoly Antohin
© 2005 by vtheatre.net. Permission to link to this site is granted.
|увеличить фото ...|