Stage option (2h50m) 18+

Stendhal
Producer:Yuri Eremin
Julien Sorel:Denis Balandin, Petr Krasilov
madame Renal:Nelly Uvarova
Matilda:Anna Kovaleva
Male:Alexey Blokhin
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Review of "Afisha":

Director Yuri Eremin, who himself wrote the play based on the novel, literally exaggerates the colors, discarding the halftones and focusing on the colors that are stated in the title. The visual solution of the performance, based on the themes of the paintings of the artist Kazimir Malevich "Red Square" and "Black Square", is also built on the principle of sharp color contrast and includes elements of a certain graphic constructivism. That is why right angles predominate in costumes, and the main detail of the scenery is a glass plate located in the center of the wall, which gradually turns red during the first act, and black during the second. Accordingly, such a prominent place in the performance actorlike the artist Male (Anton Shagin), who draws this "canvas" and at the same time represents a kind of second "I" of the protagonist. He now and then comments on the action, "prompting" certain actions, and at the same time sprinkles out quotations borrowed from world sources of literary and philosophical thought. He also sets a clear emotional tone for each action: "red is a symbol of passion", "the main meaning of black is death." when death creeps on them, red is steadily absorbed by black. Such frank asceticism in the selection of external colors is directly related to the choice of topics and the decision of characters.

From the entire palette of a multi-layered novel, the author of the play and director, by and large, singles out only the love story of Julien Sorel and Madame Renal, which, of course, has its advantages and disadvantages. All other plot and thematic layers are maximally adapted and turn out to be only auxiliary strokes accompanying the main action. Even the episodes telling about the mutual infatuation of Julien and Matilda de la Mole are solved mainly in a grotesque comedy way. But the duet of the main characters is filled with true drama and depth of feelings. It is true love that makes the assertively ambitious young man Julien Sorel - Denis Balandin (this role is also played by Peter Krasilov), who at first strives for self-affirmation with all his might and painfully defends his human dignity, to realize that the main thing in his life is that all-consuming feeling that he experienced to Madame Renal. The very restrainedly strict heroine of Nelly Uvarova, throwing herself into this love like a whirlpool, experiences a painful struggle between feeling and reason, surrenders to passion and strives for repentance, bathes in boundless happiness and plunges into the abyss of despair. In the finale, the two figures freeze within the black square, as if in a solemn and tragic union of death and immortal love.

IN the play "Red and Black" the famous director Yuri Eremin used unexpected visual images, referring to the work of Kazimir Malevich. All characters of the production, as interpreted by the director, are associated with two works by the famous artist - "Black Square" and "Red Square".

However, the semantic load of these two colors in the play "Red and Black"does not contradict Stendhal: red remains the color of passion, love and the affirmation of life, black - the color of crime, sin and death.

The play "Red and Black"played out like a chess game in which red and black pieces act. Color accents are clearly expressed in the costumes of Victoria Sevryukova, which, from colorless at the beginning of the performance, first acquire more and more red details, and in the second part of the production they become predominantly black.

Yuri Eremin even introduced a special character named Male into the production. Throughout the first half of the performance, he covers the square window located in the middle of the stage with red paint. Then he applies a layer of black paint on top, while managing to recite Schopenhauer, Goethe and Byron, as well as talk about love and death, the properties of color, and voice the inner monologues of the main characters.

To the play "Red and Black"Male (Alexei Blokhin) turns out to be an important figure who connects all the action and gives it the necessary dynamics and compositional completeness.

The ambitious and ambitious Julien Sorel (Denis Balandin) appears in the house of the mayor of a small town, Mr. de Renal (Victor Tsymbal)

In the role of a tutor. A handsome young man with a good education and excellent manners attracts the attention of the mayor's wife Louise de Renal (Nelly Uvarova).

She falls in love with Julien and they become lovers. But an anonymous letter forces Julien to flee Renal's house, and soon he becomes secretary to the Marquis de La Molle (Alexey Maslov).

Julien wants to be closer to the world of aristocracy with all his might, in which he could embody his ambitious intentions. And the best way is a wedding with the daughter of the Marquis Matilda (Anna Kovaleva).

But everything collapses after an unexpected letter from Madame de Renal, in which a woman warns the Marquis and accuses Julien of hypocrisy and using Matilda for her own selfish purposes.

An angry Julien rushes into Renal's house and shoots a pistol at his former lover. Louise does not die from her injuries, but Sorel is arrested and sentenced to death. In the final the play "Red and Black"Julien repents of his crime and receives Louise's forgiveness.

Original scenography, directorial insights and deep acting make play "Red and Black"one of the most interesting performances on the stage of the Youth Theater. The famous novel by Stendhal appears in a new reading, which will be interesting to the widest circle of viewers.

Tickets to play "Red and Black"theater fans can purchase a TicketService on the website at any time.

Kommersant, October 21, 2008

Stendhal after Malevich

"Red and Black" at the Youth Theater

The premiere of the play "Red and Black" was played at the Russian Youth Theater. Director Yuri Eremin decided to look at Stendhal's novel through the prism of the works of Kazimir Malevich. The unexpected directorial concept did not spoil the performances, says MARINA SHIMADINA.

Stendhal's novel based on real story young ambitious provincial, about whom the writer learned from the newspapers, Yuri Eremin played like a chess game - red and black. In his production, the characters of the novel turn into pawns in the hands of two powerful elements of color, which the director tries to associate with the works of Kazimir Malevich - "Red" and "Black Square". The performance even includes a special character named Male, who, during the action, painstakingly covers the square window in the center of the stage, first with red and then black paint, uttering profound aphorisms of great thinkers and poets in between times. But comparing Stendhal with Malevich is the same as comparing War and Peace to War of the Worlds on the grounds that it sounds similar. In the play, the colors in the title of the novel are interpreted quite traditionally, in the Standalian style: red is a symbol of passion and life, black is, respectively, sin, crime and death, while the founder of Suprematism did not at all put such a semantic load into the colors of his works. In his famous "Squares" red served only as a sign of color in general, and black - its absence.

But if we do not go into the subtleties of art history, we must admit that the found method is good for the performance. The appeal to the art of the 20th century sets a certain tone for the production and deprives it of the old-fashioned decorativeness usual for costume drama. The costumes of Viktoria Sevryukova, conventionally stylized in the fashion of the 19th century, wittily play up the director's intention: with each scene, more and more red details appear in the outfits of the characters, initially of the color of a blank canvas, and in the second act - black details.

Valery Fomin's scenography - a gray wall with doors and podiums going out - is laconic and functional. She does not illustrate the luxury of fashionable Parisian interiors, but organizes the space for the performance. The movement of the actors across the stage is somewhat reminiscent of the movement of chess pieces: two steps forward, one to the side, a knight's move, castling - this is how Julien Sorel plays out the game of his fate, sacrificing unnecessary pieces to break through to the queen.

But the geometric clarity of the mise-en-scène in no way dries up the acting. Minor characters are outlined with two or three light strokes, without unnecessary pressure and with a share of humor, setting off the emotional fever of the main characters. Young Denis Balandin, playing the role of Julien Sorel in turn with the more experienced Pyotr Krasilov, is convincing in the image of an insecure, painfully ambitious and scrupulous provincial in matters of honor. But whether he loves his noble patrons or only uses them to satisfy vanity and advance to the upper levels of society, it is difficult to determine by the actor's play. But the feelings of Madame Renal performed by Nelly Uvarova are visible at a glance.

The actress, whom the whole country knows as a clumsy girl with braces on her teeth from the TV series "Don't Be Born Beautiful", created in the performance a magnificent image of an adult woman, passionate and sensual, going crazy with love. Mrs. Uvarova works in unusual detail by today's standards and plays out every nuance of her emotionally rich role. And the love scenes with her participation will certainly be appreciated by the audience of the Youth Theater more than the moralizing maxims of Mr. Male.

Novaya Gazeta, October 24, 2008

Alexandra Akchurina

Accent on red

The long-awaited premiere of "Red and Black" directed by Yuri Eremin took place at the Russian Academic Youth Theater

The director took up Stendhal's classic novel and, with a light hand, removed many minor episodes, and the text itself “ingeniously” divided into two parts - “Red” and “Black”. The first, according to the director's idea, tells about passion, and the second about death. The author of the stage version of the novel did not distort the meaning, however, due to the torn fragments, the images of the heroes, as well as the general idea of \u200b\u200bthe novel, remained unfinished. Eremin made a simple play about love, while Stendhal wrote a psychologically unsurpassed book about ambition and ambition that engulfs a person. The main merit of the director is that he worked masterfully with the performers of the roles: the images proposed to the actors are played flawlessly.

Eremin, in my opinion, does not quite correctly interpret the symbolism of the novel, if at all it can be interpreted correctly. Red is only love, and black is only death, although there is actually very little love (both in the novel and in the play): Julien Sorel, a provincial ambitious young man, never elevates love to an absolute, it is no more for him, as a means to achieve career heights, and in the case of Madame de Renal, only satisfies his pride - and nothing more.

The only person with a genuine feeling is Louise de Renal (Nelly Uvarova), the wife of the mayor, to whom Julien is hired as a teacher. In love, she is selfish and jealous (not out of religious fears she writes a libelous letter to her former lover), but sincere. In her earthly, non-Christian love, there is even some greatness and charm. The tragedy of Nelly Uvarova's mother plays very convincingly, although unforgivably little is said about her in the play.

Julien's other passion is Matilda de La Mole (Anna Kovaleva), an aristocrat with a romantic notion of death and a complete amateur in love. She was seduced by rootless Julien only when she realized that he could kill her. She guessed this feature correctly: Julien is capable of murder, but not out of love or jealousy, but solely out of ambition. He also shoots Madame de Renal when she ruins his career plans with her letter addressed to Matilda's father, the Marquis de La Molle.

The main character, Julien Sorel, is played by one of the "stars" of the RAMT Pyotr Krasilov. This image is an attempt to go beyond the role of naive and noble young men whom Krasilov has played until now (Erast Fandorin, Petya Trofimov in "The Cherry Orchard", Robert in "Cruel Dances"). In Sorel, Krasilov discovers the dark sides, but sometimes overdoes it. His Julien, perhaps, is out of balance: a lot of rigidity and less than required, feelings. There is very little of the insulted dignity and fiery love for Napoleon Bonaparte in him, and in Stendhal this is the main emotion that the hero experiences. In the play, the image of Sorel is spelled out worst of all, if only because many episodes of his life path... So, in the play there is almost not a word about Sorel's past (only several times about his low origin), the period of his studies at the seminary and other fragments necessary for understanding the character are lacking.

The director used the comic talent of Krasilov and other actors at the wrong time - in the second act, which was supposed to be tragic. Instead of a love drama, the actors sometimes play a farce, which does not fit into the general line of the performance.

However, despite all the reservations, the performance, which surprises with the director's interpretation, looks in one breath, primarily due to the excellent acting.

It is impossible not to mention the very successful move of Eremin - the image of the artist Male, invisible to the heroes of the entire action present on the stage. He quotes Byron, Montaigne, Napoleon, Goethe and Schopenhauer, talks about flowers, love and death, voices the characters' inner monologues and perfectly connects the poorly glued composition of the play. Male plays the roles of a narrator, a witness, a sympathizer, and a prompter. In the play, this is perhaps the brightest and most lively figure, although she accompanies the entire action in the background.

Accents in the performance are placed on red not only figuratively, but also literally - in the color scheme of the heroes' costumes (author Victoria Sevryukova). At the beginning of the action, all the heroes are dressed in plain light suits and resemble colorless canvases. With the arrival of Sorel at the Renal's house, red trims appear in outfits, the maid spreads the red carpet, fluffs up scarlet pillows, and Male writes red patterns on a colorless square in the center of the set. The scenography (Valery Fomin) is made in an unexpected graphic style: everything is laconic and gloomy, and the main elements are the red and black squares of Kazimir Malevich. Brilliant Paris is embodied on the stage by several cardboard frames, symbolizing the external cascade of chic high society (they have fun here), the Renal house - with two doors and beds (they love it here), the La Molay house - with an office with ink and papers (they make a career here), a prison cell - a hole in the window opening (die here).

In the second act, the color of the costumes gradually shifts to black, but the scarlet tones do not leave the stage until the very end. Obviously, in this way the author emphasizes the constant presence of passion in the lives of heroes, even when facing a death sentence.

Yuri Eremin's performances are always distinguished by a solid, logically verified construction, and they always lack some subtlety, grace of high art. They seem to be literally slicked to the needs of the student - classics in excerpts and fragments. His performances are good for getting a general idea about anything. In "Red and Black" you can glean information about love, and about Stendhal, and about the life of young people who dream of breaking free from the bottom, and about the musty life of the province. The basis of the performance, unfortunately, is as dry as a biography. But deep acting, interesting costumes and scenography saturate the production with details, thoughts and ideas, without which it would not be viable.