The Altai Puppet Theater told about the “dashing nineties”
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Even Bodrov’s sweater is not forgotten
The play “Pasha” by the Altai Puppet Theater “Fairy Tale” about the dashing 90s takes part in the Golden Mask festival. Young actors are trying to talk about what has long been a myth. The only thing missing was the appearance of Danila Bagrov, but he had a sweater like his. He was “worn” by the father of Pasha, a guy from the outskirts who has 12 teeth.
Judging by the choice of the Golden Mask experts, the best we have is the performances of directors from Belarus. Two of them were staged by Igor Kazakov – The Government Inspector in Petrozavodsk and Gogol. Triptych” – in Yekaterinburg; the third – Alexander Yanushkevich in Barnaul – “Pasha”. Two more are represented by the Central Puppet Theatre. Obraztsova is a Slavic folk-horror film The White Duck by Boris Konstantinov, about the transformation of a princess into a bird, and a biopic about the founder of the illustrious band I Am Sergey Obraztsov directed by his granddaughter Ekaterina Obraztsova.
Alexander Yanushkevich, like Igor Kazakov, is a graduate of the Belarusian Academy of Arts, he studied as an actor in the puppet theater, then as a director in the same direction. He worked in Minsk, staged in Russian cities, was the chief director in Perm and Brest.
The Altai Puppet Theater “Skazka” for the first time in its almost 60-year history participates in the “Golden Mask” and is presented in the nominations: “Best Performance”, “Best Director’s Work”, “Best Artistic Work” – Anton Bolkunov, “Best Actor’s Work “- Roman Batalov, who will have a difficult competition with his colleagues: German Varfolomeev – Bashmachkin, Valery Polyanskov – captain Kopeikin and Alexander Shishkin – Poprishchin in “Gogol. Triptych, Rodion Mikhno – Khlestakov and Oleg Romanov – the mayor in The Inspector General, Evgeny Tsyganov, who played his prominent relative in I am Sergei Obraztsov, Ekaterina Maletina (there is no gender division in the puppet department) in The White Duck.
“Pasha” is based on Pavel Selukov’s cycle of “non-intelligent stories” “Getting Tarkovsky” about life in Perm in the 1990s and early 2000s. Like his hero, the author was born on the outskirts of Perm. In one of the stories, he recalls how he was inspired by cultural television programs in the absence of the Internet, “spiritually lived with three men: Arkhangelsky, Erofeev and Shvydkiy.” In the play, these names are missing, and Pasha was sent to the outskirts of Barnaul, where there are completely panel houses. The prose was adapted for the stage by the Moscow playwright Alexei Goncharenko, focusing many other characters from the original source in the main character. No swearing, everything is softer and more decent, although in the toilet classmates poison the girl when they see her without panties, and she throws them with feces. The performance is positioned as the life story of those “who are over 35”. A playwright from Moscow, a director from Minsk, an artist from Alma-Ata – an impressive international team in today’s times. True, and the performance was born in 2021.
Not a puppet, but a dramatic actor, as in other nominated performances, became the number one figure. In theater schools, there was such a practice: if you didn’t enter the drama department, go to the puppet department, where there is a shortage. Many did just that. And then there certainly were such and achieved a dream, having the opportunity to show dramatic talent. Alas, many did not have it, and this greatly crippled an interesting performance. Roman Batalov also dreamed of a career as an artist without a doll, but he felt a taste for it.
Pasha is growing up before our eyes, gaining intelligence, meeting girls, hugging them in the wrong place (nowhere else). His relationship with his father is not easy. We have to hang around with him in the garage to the detriment of our own interests. There is no real intimacy. At some point, the father will turn into a gray bag with a neck resembling the sweater of the hero of the film “Brother” Danila Bagrov – the real sweater of Sergei Bodrov. A head sticks out of it, fortunately, reminiscent of the actor Yuri Antipenkov himself, and not Bodrov Jr. Together with an accomplice, Pasha robs the veteran’s apartment, takes out a suit with medals, but then returns it, since his conscience remains. That’s how a kid from the outskirts, who has 12 teeth, goes through street universities, forms into a writer.
The production designer is Anton Bolkunov from Alma-Ata. He graduated from the Higher Directing Courses in Moscow, where he studied with Irakli Kvirikadze, and made short films. He has already worked in puppet theaters in Russia, and with Alexander Yanushkevich he has already presented The Tale of Bygone Years from Tolyatti at the Golden Mask. He compared the characters of “Pasha” with Brueghel’s cripples. You don’t have to invent anything, just go to a bus stop and you will see a “knee-man”. Plaster man is good too. The armlet doll is Pasha himself. His friend pulls about the same “gut” on his leg like a trouser leg. On the arms and legs, the heads appear as growths, on them the dissected faces of the actors. Some people have only one limb. The second is the actor’s arm or leg, which gives the effect of Siamese twins. Some intangible heroes are dragged by the scruff of the neck. There is a girl here – a lifebuoy (part of the swimsuit is put on him), a braid girl, catching a doll like a weight. And someone exists by itself, without a doll, although it is the only salvation, since the transition to the adjacent dramatic territory for someone turned out to be equal to death in the profession.
Newspaper headline:
Pasha from the outskirts, 12 teeth
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