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The last scenario of Gennady Shpalikov was played at the Theater of Nations

One of the best screenwriters of the sixties, Shpalikov, wrote this work back in 1974, shortly before his death. But the beginning of it – according to the atmosphere, the description of natural phenomena – as from today. “Let the prologue of this story be how early in the morning children go to school along bright, snowy, rainy streets,” a voice sounds in the black space of the Small Stage, which looks like a movie pavilion. And behind its walls – and snow, and rain, and no way to sleep. As sung in one Soviet song. There will be a lot of them in two hours of stage action, and in an authentic recording. After listening to them, the viewer will once again sigh about the good that was in the Soviet past – it was!

– Still sleepy, in their worries. With briefcases, knapsacks, unbuttoned coats or neat, especially girls – just young women, in colored tights, and even school dresses they have just above the knees … – the artists lay out the text of the script for six voices. They will play out the latest Shpalik scenario, which is just from the category of the very best from our past.

Indeed, what they knew how to do in the USSR was to make well-written scripts for films. Here is Gennady Shpalikov – this is the best script about Moscow (“I’m walking around Moscow”) and not only (“Zastava Ilyich”, “I come from childhood”, “You and I”), these are the best songs (“Oh you deck, deck”, etc.). Narrative, honest, moderately cynical, but certainly with that share of romanticism, which negates cynicism and adds humor to any situation. Even tragic.

And in his script “Jump-jump, the ceiling collapsed”, the situation is very dramatic. Actually, the author himself suggested as a clarification – “the drama of a strong woman.” And here she is – Anya, a janitor and a plumber all rolled into one. Hair straight in the middle, dressed simply, in general, from the simple. She has a daughter – Xenia, 11 years old. Pre-adolescent independence in character, independent – all in the mother. Their husband and father, Yura, is such a normal, jack-of-all-trades man. He drinks, he can embed, but on business. His golden hands are used by all and sundry, and even money is not always paid. It is with these debts that the drama begins in a simple Moscow family.

Although nothing bad portends, and so – snow, rainy streets. A mother takes her daughter to the pool, and there, quite by chance and unexpectedly, they get to shoot some story for a news program. Maybe even the program “Time”. The pool has no water, of course, and is marked with pink and blue Styrofoam balls strung on a rope. Here are the water paths and ready. Ksenia rows in them with rapture, and Anya, like a real mother, wants to be proud of her daughter, so she arranges everything so that she and her daughter “get on TV”. She succeeds quite well.

– Can you sing a song? – she asks the director, stunned by her pressure, and to the motive of the famous “I love you, life” recitatively displays the words of her own composition: “I love you, daughter …”

Meanwhile, her beloved husband Yura is in the garage trying to deal with an intelligent-looking man – he does not want to pay for the work that Yura has been doing for several months.

– Well, no money. Well, nowhere to take.

Yura will turn out to be even kinder than presented at the beginning of the story, and the debtor and his wife (he is wearing glasses, she is with a bunch) will move with him to Yura’s apartment, where they will drink not like a child. And where, after returning from the pool, Anya and her daughter will find them. Well, business, it would seem – the husband brought strangers into the house, they sat well, but did not calculate their strength. And the wife of the owner of the apartment, a strong woman, decided to show strength of character – she began to drive uninvited guests, and called the police against her husband …. But the husband could not restrain himself – he began to wave his arms, so the policemen got it. And those at execution.

A common domestic incident, however, Yura was taken to the police station, and no matter how much Anya, who soon came to her senses, tried to take the application against her husband from there, he was sent first to Butyrka, and then to the court that sentenced him to a year in prison. In general, jump-jump, and the age of will is not to be seen. The wife is tearing her hair out that she planted her husband for nothing, the daughter is in conflict with her mother, because she loves her father and cannot live without him. As, however, is the mother, who also loves her husband, but, having stupidly, ruined her life for herself and him for a whole year. Or maybe for a lifetime.

Such is Shpalikov’s story, full of plot twists… The narration is simultaneously conducted on behalf of all the participants in this story – there are many of them. The ease with which director Marina Brusnikina divides the text into characters and builds mise-en-scene in the pavilion is admirable. She even leaves the author’s remarks – they are so good and important for the production. The impetuousness of events is devoid of superficiality, slipping, in some surprising way it gives depth. And the story unfolding before our eyes, and the characters…

The history is not external, but internal, the history of feelings – their preservation or death. And also a love story that is tested by someone’s carelessness, arrogance, in the end, stupidity, for which you have to pay the bills. Finally, the history of relationships, which from the most ordinary, ordinary family suddenly become conscious.

Three artists – Daria Kalmykova (film actress), Artem Bystrov (Moscow Art Theater named after Chekhov) and Alexandra Ursulyak (Pushkin Theater) play only the main roles, the other three are given several characters at once. Artem Tulchinsky, Rustam Akhmadeev and Daria Vorokhobko create a feeling of the seething life of the city around the main characters. But they do it not at all formally – each character will be remembered.

It’s amazing, but almost all acting work is a discovery. Daria Kalmykova, who, both from the series and from her previous work in the Snuffbox, where she served, is known more as just a pretty lady, here she revealed herself as a serious dramatic actress. She was not afraid to be ugly, simple, she was able to show the depth of her character. Especially, next to his stage daughter – a powerful actress Alexandra Ursulyak. By texture, she is not a travesty at all, but her 11-year-old creation is a child (not even a teenager by age) with the actions of an adult.

There are three climactic scenes where the characters Ursulyak, Kalmykova and Bystrov exist at a high emotional limit. And the director Brusnikina is not afraid of open emotions, she knows how to write out such scenes very subtly, as if with a calligraphic pen, so that neither screaming nor hysteria distorts the real that is laid down by the author in the script and that the actors play. And human life is embedded in it – such as it is – voluminous, not bad and not good … And people are the same, and not flat carriers of far-fetched boring concepts.

What else Brusnikina can do wonderfully is to create an atmosphere on stage. Snow, rain, other weather phenomena that the characters talk about seem to be invisibly present here. But the time is also accurately conveyed – in simple, not at all stylish costumes (artist Polina Bakhtina), but the material from which they are made (soft, large-knit knitwear) speaks of the attitude of the directors to this time.

Emotional coloring is added by music (design – Artem Tulchinsky), which connects Soviet songs with each other, And time has no power over them. And most importantly, the works of Yevgeny Krylatov, Alexander Zatsepin so organically fit into the story, although it was composed by Shpalikov almost 50 years ago, but which can easily happen today. In every Moscow house, in every Moscow family. After all, relations between people since 1974, when there was no Internet, have changed little. And with his appearance, it seems that they finally got confused in social networks.

And finally, the last thing: “Jump-jump”, whether the directors of the performance wanted it or not, in the finale can awaken a sense of long-standing guilt of parents in front of their children and grown-up children in front of suddenly aged parents. The premiere performance haunts the memory. Here you have to be careful.

Source From: MK

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