Column by Evgenia Milova about social life
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In Moscow at social parties they talk more about returning to oneself, about new projects and about returning strength and spirit to these new projects. The reason why the fortitude left everyone in February 2022 is not mentioned once again: why, if everyone already understands everything, and God forbid they frighten away the surge of vital energy. On the other side of the state border were people who were thoroughly worried that they would not be able to work in Russia, but who also did not understand for sure whether they would work abroad. It is clear that the problems of leaving, coupled with severe stress, collective and individual, did not contribute to the lightning-fast resumption of active professional activity. Now that the housing has been rented and the documents have been received, everyone gets to work.
Last social week, the flowers of Russian art bloomed throughout Europe. The Voices festival began in Berlin, in Cannes producer Rene Kirspu literally single-handedly organized and held the theater festival “The Cranes Are Flying,” and Marat Gelman’s Slovonovo free culture forum took place in Budva (included in the register of foreign agents). It is also logical to recall the London premiere performances of the play “White Factory” by Maxim Didenko and Dmitry Glukhovsky (included in the register of foreign agents), which took place a little earlier, in mid-September. It is a little less logical to recall the premiere of Lohengrin directed by Kirill Serebrennikov at the Paris Opera. In the end, Mr. Serebrennikov is the only one who is obviously inscribed in the European cultural context and repertoire not as a bird. And at its premiere, not only residents of Paris, but also guests from Moscow were noticed.
A particularly active community has formed in Berlin: there are chat rooms where you can easily find people of any creative and technical background. At the same time, you can borrow chairs or something else essential. As a result, it turns out that in one evening in Berlin you need to be in time for two or three places at once. The scale, of course, is different for everyone. A hall with 300 seats was reserved for the presentation of a new book by Mikhail Zygar (included in the register of foreign agents), but this is rather an exception. Marina Davydova’s play “The Museum of Unaccounted Voices” with Chulpan Khamatova in the title role receives about 150 spectators – but it was performed five evenings in a row as part of Voices. Sunday became the most secular: it coincided with Mrs. Khamatova’s birthday, and many wanted to congratulate her.
What happened in Cannes was addressed to a lesser extent to “our own” people, and to a greater extent to Russian-speaking people who had been living on the Cote d’Azur for a long time. They can afford to purchase a subscription to the entire festival program, and in addition, a dinner with the main stars. Ideologically, this festival was completely neutral, it was simply about something else, although no one paused at the place of certain words. For example, the play “Iceberg” is about a woman who thinks that she is Alla Pugacheva – and against the background of the war, this conviction leads her to an Estonian clinic for the mentally ill. The main role was played by Julia Aug; the organizers specified that this was a world premiere.
On the second and final day, the program was intense: a presentation of a book-album about Margarita Terekhova with the participation of her daughter Anna, then a speech by Vera Polozkova, and then the highlight of the program – Ksenia Rappoport read Vladimir Sorokin’s story “Gold XXX” in the presence of the author of both the story and our reality. Mr. Sorokin himself seems to have become accustomed to being called that all the time. Signing his albums with forty paintings dedicated to Dostoevsky (an exhibition of selected works was held right there in the theater foyer), he kept saying “Sorry” and “I’m very sorry.”
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