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“Book of codes and passages”: understanding the 90’s – News

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Galina Brandta famous theater critic and theater critic shared his impressions of the play.

– Yesterday the premiere in the EC with the awkward title “Book of Codes and Passages”. I don’t play Sega or any other – that’s why the name is awkward for me. But this is not a minus. Probably, for those who play, it’s more interesting to watch, more connotations, but it’s still quite a nice show. About the 90s, about the lonely abandoned drunkard dad and even more abandoned 12-year-old son Vovchan.

Who among those who attend performances at the Yeltsin Center, may not like the “sweet couple of St. Petersburg” playwrights-directors Alexei Zabegin – Vladimir Antipov ?! However, even in the old days, before the EC era, they broke into the field of Ekb-admiring attention with their “My sun no longer shines for me” in the CSD. And the last one – before these “Codes” – their little masterpiece on Harms excited again. But just as in “Harms” they merged with the Author with their texts and accents in free breath, so it is clear that the play of the young Damir Hanifullin is not left in its original form. They are too passionate, impulsively inspiring not to get involved. And thank God!

I couldn’t find a play on the internet to see the relationship. But it’s so obvious. These strange, light comments on two – zabegino-antipov voices – and about the events, and the most dramatic text: these soft, witty lace frame the story. They make it already three-layered (in the play two layers of Sega-reality pass into each other), where tricks multiply, feelings multiply – and funny, and scary, and pity, and fun. And make an interesting distance from us there, in those crazy 90’s.

And it is also remarkable how the actors, not the most prominent and, so to speak, representative actors of our theaters (the famous Valery Prusakov-dad is the only exception), exactly distributed here in the role. Sergei Shlyapnikov and Ivan Marchukov, two 12-year-old boys who are authentically and touchingly recognizable, are especially good.

And snow. The constantly flowing snow, against which everything is happening, suddenly sets a lyrical note. And, of course, live music performed here in front of your eyes performed by the exotically equipped Alina Ezhakova, – said Galina Brandt on her Facebook page.

The play was a success. It will be included in the poster of the Theater Platform “In the Center”. The new competition continues. The play receives new plays and new readers, people close to the theater, read and evaluate them. Each of them has his own attitude to the 90s.

Anna Banasyukevichtheater critic, theater critic:

– The 90s are probably the most controversial time in recent history, when everything changed very quickly, and Russia really became a country of contrasts. Man did not have time to adapt to new circumstances, and even more so did not have time to comprehend what was happening. Now that 30 years have passed, it is possible and necessary – we will not be able to understand what country we live in now if we do not realize what happened to us in the “era of change”.

Pavel Rudnevtheater critic, theater critic:

– The 90s were very traumatic for someone, and I understand these people. But for others, they were years of growth, freedom and opportunity, and I understand these people too. For me, they coincided with my growing up and professionalization. The 90’s for the theater were years of liberation and greedy absorption of everything that was impossible to know in Soviet times. Books published in the 90’s are read to the core. During these years, the foundations of a new theater and theatrical diversity were laid, the fruits of which we still enjoy. It is a time of trauma and pain, joy, happiness, renewal, wealth and poverty, a cursed imminent death and a new life, it is a time of war and a time of peace. In the 90’s came the bitterness of interrupted reforms – this bitterness will always be with my generation. We will deal with them until the end of our days, because they contain the reasons for both the modern decline and the modern rise. Problems were solved there, because of which we are winning today in something and losing in something. There have been mistakes and victories that affect our lives so far. The plays are very helpful in understanding the events, the theater is an ideal means to establish causal links. So let contemporaries remember this time and compose it for those who are younger.

Alexey Salnikovwriter:

– Amazing competition. There is nostalgia, and comparison with the present, and different views of many people on the already distant past. Great pleasure from a variety of reading.

Alexey Sinyaevplaywright:

– It is surprising that a generation that did not catch the 90’s has recently entered adulthood. People who were born and raised in zeros and tenths. For many of them, the 90’s are just a time frame, an unfamiliar formula, or a dusty scarecrow. “What do you want, like in the 90’s?” – means nothing to them. For witnesses, this time is often traumatic, which is scary to think about, not something to return to. The Why Do I Remember It contest, like a time machine, should immerse us in that atmosphere, lift a big fish of meanings and experiences from the bottom and collide with it face to face. After all, realizing your fears and studying the past makes it much easier to move forward.

Natalia Sannikovatheatrical translator, head of the Theater Platform “In the Center”:

– There are many drama competitions. We came up with a thematic – about the 90’s. It was in the 90’s that much of what we are dealing with now was laid down: both beautiful and not so beautiful. There were 90s living, then there were 90s mythological (the word “dashing” has long stuck to them as “market”, “bandits” and “gopniks”, but also “freedom”, and all this has become part of the myth, or yet reality?), now enough time has passed to try to analyze this era. And maybe it’s better to understand what’s happening to us today.

We remind you that plays for the contest “Why I remember it” are accepted at konkurspies@ycenter.ru until April 30. The last play last year was submitted by the author at 00:00 on May 1.

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