A performance based on the rehearsals of Boris Godunov 2011 was staged at Pyotr Fomenko’s Workshop
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Apprentices completed the work of the master
Toward the end of the theater season at Pyotr Fomenko’s Workshop, Evgeny Tsyganov staged the play “Comedy about Tragedy” based on the rehearsals of his master Pyotr Fomenko, who never staged Pushkin’s drama “Boris Godunov”. This is not only a homage to the Teacher, but a kind of completion of a trilogy begun by other directors with the participation of Tsyganov as an actor.
Readings of Boris Godunov began at the Pyotr Fomenko Workshop in the winter of 2010-2011 and continued for several weeks. Then Peter Naumovich took a break, which turned out to be eternal. On August 9, 2012, he died. On July 13, the theater celebrated his failed 90th birthday, for which they prepared the first show of Godunov. One can only guess what he could become with Fomenko. And he wanted to call the performance “A comedy about the tragedy of the Moscow state.” We are also offered the version of one of his students, who swung at the failed plan of the master and made him, in fact, the main character.
From a large screen, as if from heaven, Pyotr Naumovich looks at what is happening below on a wooden platform, the slope of which changes until an impregnable wall appears, and Tsar Boris appears in its window. Fomenko skeptically looks at his direct students, those whom he himself has not taught, but who are somehow trying to continue his work. The master’s manuscripts are on the screen, and his voice is heard from the speakers. By his presence on the screen, he reminds that there should not be any pathos in the performance. Fomenko is able to knock unnecessary husks off the actors with one remark, he speaks as if it were not about Marina Mnishek and Godunov, but about the most ordinary people.
He loved Pushkin, more than once turned to his works. Now Yevgeny Tsyganov has united actors of different generations around him, but there are no “founders”, those with whom the theater began, with the exception of Karen Badalov, who is Pimen, Pater, and Boris Godunov. Almost every actor has several roles. Olga Bodrova, for example, plays Marina Mniszek, Tsarevich Fedor and Zvonar. Vladislav Tashbulatov focuses only on the impostor Grishka. And the dark-skinned beauty Stephanie Elizaveta Burmakova in the role of Remarque recalls the origin of Pushkin.
Actors are crowding on a wooden platform, portraying the simple Russian people, the inner circle of the tsar and the Pretender. Here is a holy fool with fiery hair, a downtrodden woman with a baby, a Cossack with a forelock, a drunkard. Strange, I must say, people. Yes, and the nobles, mired in lies and betrayal, give the impression of a dense, sleepy people.
The performance runs for over three hours. The master calls from the screen not to be serious. What else can you be, watching the fuss around the throne and human stupidity. But the first action, heavy and gloomy, comes to life only in the scene by the fountain, when Olga Bodrova appears. Her Marina Mnishek seemed to have descended from the canvases of the old masters. She dreams of the throne. And the Pretender, who has completely lost his temper, is eager to get it. Fomenko moderates his ardor from the screen, because you can’t tremble before a woman like that. That’s what he says – “baby”. Pyotr Naumovich, how rarely anyone knew how to parse texts and performances. He spoke only the truth, managing not to offend anyone, visiting different theaters of the country. A phenomenal spectacle, just a school of life and criticism.
Evgeny Tsyganov will appear on the stage only on bows. He does not act in his play, and this is inspiring. Actors who aspire to direct often do so in the name of getting a role that they would otherwise not get. And here is a completely different case. One gets the feeling that the appearance of “Comedy and Tragedy” was facilitated by Tsyganov’s acting experiments in two performances about the tragic fate of the artist. This is Mozart’s Don Giovanni. Dress rehearsal directed by Dmitry Krymov, where he played a director who, with his gestures, the way he throws his briefcase, reminded Fomenko with his rubber mask, although he also reminded other gods of the stage. This is “I am Sergey Obraztsov” at the Puppet Theater, performed by Ekaterina Obraztsova, where Yevgeny Tsyganov played his distant relative (Sergey Vladimirovich’s mother and Yevgeny’s great-grandmother are sisters), reflecting a whole century of Russian life. In Krymov’s performance, his hero fires a gun at the artists, unable to defeat their vulgarity, and then bleeds due to the exhaustion of vitality. But the great ones don’t die. They are with us forever. This was confirmed by an almost spiritualistic session with Fomenko.
Newspaper headline:
Tsyganov summoned the spirit of Fomenko
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