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Roles:
| Oblomov Ilja
Iljic……………..…… |
Vladislav Demcenko |
| Stoljc Andrej
Ivanovic…..…..…… |
Vjaceslav Petrusin |
| Zahar, Oblomov's
Servant…..…… |
Aleksej Jarmilko |
| Iljinskaja Olga
Sergejevna…….… |
Natalija Masic |
| Psenicina Agafja
Matvejevna…... |
Svetlana Jozefij |
| Arkadij, doctor……….…………… |
Mihail
Bezobrazov | ..Directed by: Sergej
Zuev
..Scenography: Aleksandaar Cekanov
..Costume
Designer: Aleksandar Petljura
..Music: Ljudmila
Baksi
..Assistant
Director: Svetlana Simakova
..Sound: Mihail Smirnov
..Stage Design: Igor
Gusev
..Grim: Olga Mocalina
..Theatre Art
Director: Veceslav Salevic
..Directed in Co-operation with
the Centre Zet-Kreativ |
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In Autumn 1988, a new theatre occurred
in Moscow. It was created by Evgenij Rubenovic Simonov with his
students, the graduates of High Theatre School im. B.V.Sjukina.
Dreaming about the development of traditional school Vahtangova,
Evgenij Rubenovic above all considered that the basis was the
theatre of absolute taste and emphasized theatricality at the stage
ruled by an Actor. Some older people of Moscow - the admirers of
Evgeni Vahtangov's theatre at the time - used to like and were quite
familiar with such a theatre, when general manager was one of
brilliant Evgenij Vahtangov's students - Ruben Nikolaevic
Simonov.
In a jubilant fifteenth theatre season in a row
2002-2003, the theatre, together with production company
"Zet-Kreativ", started with the rehearsal of performance "Oblom.ok"
by the play of M. Ugarov "The Death of I. Iljic" according to the
motifs of Goncar's novel "Oblomov".
Oblomov - one of the key
figures of Russian literature, who chose to be a hero. Therefore, it
is quite easy to explain why the performance author turns to his
character once again. Now, it is important to understand to what
extent it is modern? To what extent does the present Oblomov
resembles the classic one? What are present motives by which
Oblomov's "heroism" is fed with? And, to what extent is the
disdaining tone of the notion "oblomovity" justifiable? To what
extent has "Oblomov stereotype" changed, has it become "gigantic
ideologist" of nonconformity? To what extent has aggressive
information environment destroyed the limits of a hero and has it
done so? All these questions are very interesting (current) for the
authors, led by genial institution. "Oblom.ok" - imperial
consciousness and greatness - as stated in the performance
advertisement - this is the act of participation, heroism,
inactivity, the courage of sozercanje, honest "Oblom.ok" dynasties
giving birth to Totus descendants of complete people". To what
extent is this view unusual: with, truly, cosmic "teasing" - about
our funny time.
Our Oblomov is best explained by Goncarov
himself through Stoljc's words: What was the best with Ilija
Oblomov? Honest, faithful heart! This is his natural gold, he
harmlessly carried it out through life. No false notes were betrayed
by his heart, nor was he besmirched. He was not attracted by the
slightest colourful injustice, and nothing made him take the wrong
way. The whole ocean of garbage, evil may ruffle around him, the
whole world may be poisoned and take a reverse direction - I have
never met more purer, shining, and simpler
heart". |
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The play by Mihail Ugarov "The
Death of I. Iljic" was awarded with grand-prix as the best modern
play at the international forum of young playwrights in Russia for
2002. This project was called by critics - an ecological one (real
grass, rain, snow are at the stage). The project director, Sergej
Zukev, who was the first to be authorised by Patrik Ziskind to
direct the play "Contrabass" in Russia and for which he was awarded
by the critics of Theatre Festival in Avignon.
Costume designer,
Aleksandar Petljura, who did several projects with Bob Willson, is
an owner of unique antiquity clothes, the largest in Europe.
The
project scenographer, Aleksandar Cekanov, is the winner of
international awards in Venice, Paris, Vienna, Belgrade, for his
scenographies in different theatre projects.
The performance
music was composed by Ljudmila Baksi, the winner of "Golden Mask"
2000 for theatre music.
Main role in this project is played by
meritorious Russian artist Vladislav Demcenko, "the star of European
Experimental Theatre", the winner of "Goethe" award of Berlin
Academy of Art in 1998, "Mozart" award in Vienna 1996, Smoktunovski
award in 1999 and 2002, etc. |
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