"Solar Line" and "Unbearably Long Embrace": Ivan Vyrypaev on "Lubimovka" and in "Practice". Absolute misunderstanding of everything: I. Vyrypaev's "Solar Line" at TsIM, dir. Viktor Ryzhakov Meyerhold Center solar line reviews
"SOLAR LINE"
Polonia Theatre, Poland
Text and staging - Ivan Vyrypaev
Polish premiere of the 2015 play by Russian playwright Ivan Vyrypaev. Two characters in search of happiness knit macrame of a melodramatic television series with a claim to thoughts about the eternal.
From the theater announcement:
"A comedy that shows how a positive result can be achieved. "Solar Line" is a new play by Vyrypaev. This time, the famous playwright and director touches, probably, the most hot topic of our time - building communication between people. How do we get into true, deep contact with the second person? How to listen and be heard? How to get out of formal relationships and start to really communicate with other people? How to develop and follow your own path, jointly overcoming the clichés of family life? Masterfully written by Ivan Vyrypaev, the comedy, with his usual sense of humor and ease, performs a therapy session teaching how to achieve happiness with your wife, husband, partner and the world at large. The plot of the drama is based on the conflict of a couple trying before the eyes of the viewer to untie the complex psychological knots, blockade of stagnation and unforgiven traumas that are so well known to all of us. The text is written with great virtuosity. Witty humor, well-constructed dialogue, exhilarating rhythm".
A large number of excellent epithets in the release involuntarily arouses suspicion that something is wrong in the performance. Yep, exactly. And there is.
The Gordian knot of family problems of a young couple could easily untie itself on the day the joint payments on the loan ended. For any other author, but not for Vyrypaev, who is content with little, such as the textbook device "groundhog day", when the same circumstance becomes a dead end, from which a way out should be urgently sought. The characters of the play have to endure several rounds of verbal skirmishes in order to find a solution in taking care of loved ones and only in this service allow each other to have that hated half, separated one day by a metaphorical "solar line".
I remembered from Gaft:
"Pop music crushes our souls with shrapnel,
She will not be sued for this.
Part of the generation grew up on nonsense,
And the new is born in delirium "...
There are two handsome actors on the stage. The companion of Vyrypaev's transfer of dramas to the stage - Karolina Grushka in the role of the cold red-haired beast Barbara - hones the experience of stage speech (it is not easy to pronounce a thousand words of text). Next to her, Boris Shits, as the textured Viking Werner, falls a little out of the action, in which nothing changes except words. And the play is not about that at all. The stage task - from idle flame to pubertal smack - moves in the rhythm of a slow trance. I dare to suggest that such a prelude introduces the director into a kind of ecstatic state. The public is frankly bored. Lyrics for pioneers frozen in time. Sad and no life.
I noticed that Vyrypaev is staged by directors who have no sex in their creed, as in the USSR. The mafia of a common traumatic pioneer past, past against the background of white sculptural figures of stocky girls with an oar and thin-legged buglers in shorts.
Although the kitchenette from Ikea built by set designer Anna Met on the main stage of the Polonia Theater is very nice. There are still two clear edges of the atmosphere - cold blue against sandy sepia. Like, the permafrost constant against the sand of eternity. Theater virgins will see something more in this technique.
I, looking at all this sterile chatter about nothing, dreamed of finally doing some business.
"SOLAR LINE"
Polonia Theatre, Poland
Text and staging - Ivan Vyrypaev
Translation- Agnieszka Lubomira Piotrowska
production designer- Anna Met
Suits- Katherine Levinska
Music- Casimir Liske
Stunt Consultant- Maciej Maciejowski
Director assistant- Agnieszka Baranowska and Ewa Ratkowska
Assistant set designer and costume designer- Małgorzata Domanska
Producer- Peter Duda (WEDA Productions)
Executive producer- Eva Patkowska
Executive Producer Assistant- Yustyna Kovalska
Artists:
Barbara - Karolina Grushka
Werner - Boris Shits
Director: Victor RYZHAKOV
1 hour 15 minutes
18+
After seven years of marriage, Barbara and Werner clashed in a battle to the death. At five in the morning, they are engaged in an endless dialogue, trying to overcome the barrier of mutual misunderstanding.
The family scandal in Viktor Ryzhakov's play based on Ivan Vyrypaev's play rises to the level of a metaphor for human relations in general.
The duet of Vyrypaev and Ryzhakov also demonstrates a new level in the performance of the Moscow Meyerhold Center. Fifteen years ago, their play Oxygen at the independent Theatre.doc sounded like a rebellion against the toothless conventional theatre. Today, both are part of the theatrical establishment. And their last joint premiere "Solar Line" in a major theater institution discusses them with new depth, bitterness and fury. main topic- the inconsistency of people in love and the inescapability of their desire to merge.
Ivan Vyrypaev about the play “Solar Line”: “I wanted to show the mechanism why people cannot find contact, what prevents them. The play shows 5-6 such mechanisms: from the banal - when we do not hear each other and interrupt, to the maximum - when we perceive reality differently: when one says: “I just apologized to you” - “What were you doing now? Are you doing this right now?!" And the purpose of this play is therapeutic. You can work out these mechanisms for some couple who came to the performance.”
The performance was nominated for the Golden Mask 2019 award in the categories Drama/Small Form Performance, Director's Work, Playwright's Work, Female Role and Male Role.
Important: tickets for this performance can only be purchased online. At the box office, tickets for the Solnechnaya Line, unfortunately, are not sold.
Playwright: Ivan VYRYPAEV
Scenography: Nikolay SIMONOV
Videography: Vladimir GUSEV
Stylist: Anna KHRUSTALEVA
Assistant director: Svetlana BLED
Costume designer: Anna-Maria BARBACARU
Producers: Nikita VLADIMIROV, Ekaterina FEOKTISTOVA
Kristina Matvienko for Colta: “Ryzhakov, the director and Ryzhakov, the teacher, set themselves the most difficult task: to figure out the notorious new naturalness, wired in ingenious, relativistic texts, so skillfully deceiving the viewer, ready to believe that Vyrypaev’s elegant These tricks are the philosophical instructions for life"
Marina Shimadina for Theatre.: “But Vyrypaev would not have been Vyrypaev if he had limited himself to the role of a family doctor. In a private marital conflict, he sees a reflection of the crisis of European civilization in general, its apology for individualism. He offers to part with his hypertrophied "I", egocentrism and pride, because only the one who voluntarily agrees to lose it will win this war. True, this time the playwright's missionary pathos is more thoroughly disguised as a bourgeois product than usual. But he who has ears, let him hear."
Vyacheslav Surikov for Expert magazine: “The solar line is a poetic image, the leitmotif of the play. It contains its main meaning: between people there is always an invisible border that does not allow to be together. Even if they think that they are together, they are only in an illusion, not distinguishing the solar line that separates them at this very moment.
Anastasia Pauker for PTZ: "The whole performance is filigree balancing on the edge, walking along the solar line as if on an intergalactic rope"
Natalia Solovieva for PTZ: “... the only thing that remains is with all your damaged inner world, with all the psychological traumas, to lay your head on the head of another, because your lonely existence in this absurd and incomprehensible cosmos without that very “other” will not only be meaningless, but somehow not like that"
Mila Bredikhina, critic: “Ryzhakov drives this threat of “absolute misunderstanding of everything” by everyone through a series of battles, including an exemplary scuffle, where Perelsid and Burkovsky fight no worse than Bruce Willis and Schwarzenegger. The chain of battles is interrupted and the performance is interrupted by the strange stamina of the heroes and the unexpected laughter of Perelsid, who generally does miracles here and drives so that she even cries with real tears.
Anna Stepanova, critic: “It's very funny and beautiful. A total parody of the genre of family scandal as such - starting with Bergman's Scenes from a Married Life. Barbara by Yulia Peresild, fully armed with tender peach beauty, and the brutal elk Werner by Andrey Burkovsky are turned into an enchanting clown duet. And what a good long, drawn-out fight scene! And what a finale with a diamond! And amazing light
Boris Voitsekhovsky, journalist: “Vyrypaev, speaking of what seems to be completely everyday, ordinary, with a mother and a nerve, suddenly takes him somewhere much higher, where there are already completely different meanings and conclusions. So it turns out that a family conversation of spouses who have been married for seven years, who never had a child, who never understood each other, who never chose their own path, turns into arguments about unity and difference, war and peace, hatred and love, unnecessary and important, and about the very solar line that separates people, and even one specific person into halves, which are often difficult to come together.
Evgenia Ulyankina, blogger: “And now they lie opposite each other, like two fallen stars. Below them is a mirror. Above them are their own shadows. Around - endless space. And between them is a solar line invisible to the eye. He says: I realized who prevented me from coming closer to you, it was myself. Did you understand it when we danced? No, when I pulled you by your hair to throw you out. So we can never cross that solar line? No, because for this we would have to stop being ourselves. Because we are just us? Yes, we are just us
Local Drama Queen: “Over the 7 years that, according to all the laws of common sense and human relations, they had to inexorably approach each other, they have diverged so far that they have already lost the elementary tools of a constructive dialogue between loved ones, and they have to look for a common pain point of a family conflict through appeal to cinematography. I won’t go into details, the reception is curious and not immediately readable, but you will see melodrama, horror and a solid action movie”
Natalia Parilova for Pluggedin.ru:“This is a performance about a simple truth, which, unfortunately, many people face in family life. We do not listen to other people, we do not try to understand them, we do not want to give in, we think only of ourselves. People hurt each other, beat the interlocutor with words, like boxers in the ring, until someone goes to the knockout.
Dilyara Tasbulatova in Novye Izvestia: “... A hundred people have probably already written that, they say, the heroes of the play simply do not hear each other, but they should, like, listen. That's how it is, but neither Ryzhakov nor Vyrypaev are not family psychologists, but, I remind you, artists whose task is not to provide mutual therapy for wrecked spouses. Thus, the gap here is deeper than simple deafness or blindness (the characters just exchange such remarks: “you are blind”, “and you are deaf”), the gap here is the eternal antinomy of the Male-Female, even if it was tested on the poor inhabitants. Ryzhakov just finds this couple at the moment of their experience of absolute Emptiness, when nothing binds both of them (and whether it ever did, that is the question). Moreover, they are empty on their own, separately, like human beings. Maybe, like all of us, however: Ryzhakov does not look at his heroes like the Demiurge looks at insects, we are all people, we are all people "
TASS about the tour of the play in London: ““I’m afraid I didn’t have time to read everything, although this is my native English, and many jokes, I'm sure, sounded funnier in Russian. But I got a lot of pleasure, it was exciting to look at this story of two people whose relationship was at a dead end of misunderstanding, ”David from Basingstoke told a TASS correspondent”
"Film Reporter": “There is no psychological development of images - this was how the playwright intended. Yes, they are not really needed. The audience's interest is maintained by virtuoso texts and the excellent performance of both artists. Passions on stage boil serious. True, laughing at the spouses somehow does not work. The whole story is rather sad. Someone will remember their family scenes, without which not a single marriage can do, it will seem to someone that the performance has a deep philosophical meaning about the loss of communication between people and so on and so forth. But by the very name "Solar Line" Vyrypaev voluntarily or involuntarily refers to the famous story of Ivan Bunin "Sunstroke". And if we imagine that the passion that Bunin connected two people would suddenly end in marriage, wouldn’t the outcome of their joint married life be the same after seven years? Hence the universality of the names of the heroes of the play, and the stopped time, and the lack of need for psychological development of characters.
The Solar Line by Ivan Vyrypaev, a play of 2015, was presented in the same year in the out-of-competition program of the Lyubimovka Young Drama Festival, the playwright himself staged it in Poland; more often than other Russian directors, he turns to Vyrypaev's dramaturgy. On the New Stage of the Alexandrinsky Theater, a performance based on this play was staged by a young Moscow director .
In the center of the play is a dialogue between Barbara and Werner, who have been married for seven years.
Ivan Vyrypaev about the Solar Line: “I wanted to show the mechanism why people cannot find contact, what prevents them. The play shows 5-6 such mechanisms: from the banal - when we do not hear each other and interrupt, to the maximum - when we perceive reality differently: when one says: “I just apologized to you” - “What were you doing now? Are you doing this right now?!” And the purpose of this play is therapeutic. You can work out these mechanisms for some couple who came to the performance.”
Critics about Ivan Vyrypaev's play:
“Ivan Vyrypaev wrote the perfect comedy. He reduced the archetypal "marital scene" to complete absurdity. A man and a woman quarrel all night long, the subject of their dispute has long been forgotten, buried under an avalanche of mutual reproaches and insults, and it is also not clear what kind of "positive result" the spouses want to come to. We will not learn any everyday details except for the date of the imminent repayment of the loan from their conversation.
Actually, Vyrypaev's text itself is a virtuoso verbal game, excluding any kind of naturalism or "truth of feelings".
This impersonal, artificial way of speaking indicates problems with communication not only in a particular family, but in modern society in general, at all its levels - from the endless holivar on the Internet to international political conflicts».
Marina Shimandina, Theater magazine blog
“In terms of personal presence, Solnechnaya Liniya is the antithesis of the simple and energetic Oxygen, which forever changed the course of the modern history of Russian theater. In the frankness of the then Vyrypaev manifesto, the essence of the time was captured, seeking a new sincerity and nihilism - and not finding them in the theater. In the sophisticated constructions of Vyrypaev's plays of the 2010s, sincerity is hidden behind a system of defamiliarizations - but they also retain a life-creating potential: passing through the play, as through fire or water, the viewer gets a real experience of "healing with a word"".
Kristina Matvienko, Colta.ru
The play features Nocturne No. 1 by John Field (1782-1837)
Joint production with the production company "Art for People"
Surprisingly, the current premiere of "Solar Line" at TsIM is the first Moscow production of Vyrypaev's play, which I heard at the author's reading as part of "Lubimovka" more than two years ago:
Then I thought that it would be good to play this particular text in a pointedly entrepres- even the Karakalpak ASSR. But Viktor Ryzhakov is by far the best and most consistent theatrical interpreter of Vyrypaev's dramatic texts (in the modern Russian-language theater there were, it seems, only two such stable and fruitful directing-writing tandems, Ryzhakov-Vyrypaev and Grigoryan-Pryazhko, but the second, unfortunately, broke up, and the Volkostrelov-Pryazhko cooperation that emerged in its place exists in some very parallel and marginal theatrical reality) operates by proven means. The degree of the teacher's pathos of the play, which, however, is initially inherent in the "Solar Line" to a much lesser extent than "Dreamworks * * Dream Come True" or "Drunk", the director reduces even more due to the conventionality of the form. In the process of reading, I saw how in the atmosphere of the so-called. "dense life" (in the slang of reviewers from the magazine "Strastnoy Boulevard, 10"), the so-called. "honored" artists, as they say, "on butter", unfold, with all their favorite clichés and overlaps, this purely conditional, deliberately artificial dramatic construction, and on the inconsistency, opposition of the form of the play, the style of the director's decision and the acting method, the inherent in text energy, which, alas, even with the author's congenial performance, it is not immediately possible to assimilate. But Ryzhakov, on the contrary, has a complete "correspondence": from the temptations of psychological realism and all sorts of everyday life, the ironic assumption of which gives the "Solar Line" the charm of complexity, the director goes into absolute conventionality, total absurdity and purely playful structures. With actors, however, everything is not so simple, especially with regard to the next grandiose work of Yulia Peresild.
The action of the performance, contrary to the “realistic” environment emphasized in the play, albeit without reference to the country and era, environment (but this, of course, is also the author’s self-irony, an element of the game, frankly, a snag for suckers), is placed in a sterile, artificial, playful " interior", consisting of a three-walled box-"screen", inside of which there is a wall, also screening, which later turns over and turns into a "podium" covered with wrapping paper, in the climactic episode of the fight, the characters will tear the packaging, a mirror will be found under it, where already at the final bows will be able to reflect both the artists and the audience of the performance. The protagonists of the "Solar Line", inscribed in the picture of the computer video installation, especially at first, with their mechanistic movements themselves resemble either cyborgs or anthropomorphic computer programs, they seem to "freeze" and "reboot" after each micro-episode. This decision brings "Solar Line", which is nominally "scenes of married life", with a completely different and practically unknown play by Vyrypaev "Mahamaya electronic devices", which in a similar vein was staged by "Practice" at the end of its existence in its former quality and shown in public just a couple of times:
But for the heroes of Ryzhakov's "Solar Line" gradually, in the process of the "game", the "human" beginning, the emotional still prevails over " artificial intelligence". Among other things, the obscene vocabulary used by Vyrypaev, I think, is not so much to add to the speech of the heroes of expression, but to "knock down" the inertia of its rhythm, but at the same time the inertia of perception (the element, therefore, is purely formal), in the end it sounds less noticeable, not so deliberate, but almost disappearing - this is now, on the preview, while the play can be heard from the stage in the original, original version as it was read two years ago; I believe that in connection with the Orthodox-fascist censorship laws, further remarks will have to be "adapted", as happened several years ago with "Drunk":
Structural and even plot similarity of the "Solar Line" with the classics of the so-called. "theater of the absurd", "Chairs" and especially "Delirium Together" by Ionesco, which is obvious in the reading, is also less noticeable in the performance precisely due to this internal emotional dynamics, the gradual transition from "mechanics" to "organic", although to what extent such a transformation is spelled out by the author, how much it is comprehended by the director, and in what it comes from the actor's initiative, it is difficult for me to judge.
Actors, which in the first episodes are brought to almost circus conventions, to clowning eccentrics, endlessly take off and put back on clothes, take off their shoes and put on their shoes again - time in the house of Werner and Barbara froze at five o'clock in the morning, but due to the constant "dressing" we have before your eyes, as if years pass in anticipation of the cherished April 24, when the loan will be repaid and will begin for the spouses - or will it not? -" new life". Ryzhakov found an amazingly accurate plastic mise-en-scène, emblematic, iconic and running like a leitmotif throughout the entire production, the characters return to it at the moment of "hanging" and "rebooting" every time: Andrey Burkovsky freezes in front of the audience, Yulia Peresild leans bent against True, Peresild also has an additional "female" expressive means at her disposal - she can dissolve her hair gathered in a strict hairstyle, dishevel it, and all these simplest "exercises" in the gameplay also have a meaningful, meaningful, iconic character Peresild's facial expressions are somehow "plasticine" - she seems to flip through miraculous "drawings" on her face, similar actors - once or twice, but by the way, her classmate in O. Kudryashov's workshop at GITIS Evgeny Tkachuk is also the same "plasticine "Andrey Burkovsky (he, if I'm not mistaken, graduated from the Moscow Art Theater School directly with Viktor Ryzhakov, I remember him in graduation performances) several It is less diverse in terms of means, but for a male hero (and Vyrypaev’s Werner, of course, is not a specific man, not a person, but again a sign, an emblem of a “man”), nothing better is needed. The duo turned out to be impeccable in terms of ensemble, synchronicity and technical, "choreographic" and emotional, and is just as ideally inscribed in the "technical" design, in the design of the performance (artist Nikolai Simonov). Actors do not try to "get used" to obviously "mechanical" images, but they are fantastically technically denoted, both in static mise-en-scenes, freezing and literally not breathing, and in the killing scenes of staged marital fights - these "fights" are a kind of "ballet", they should not convincingly resemble a real scuffle, but against the background of a computer video, on a mirror podium sealed in wrapping paper, in sandy (sunny?!) clothes, a husband and wife, in the play still having names and some kind of each of his own, family past, of course, is generalized to a complete abstraction, to M and F. Even such - very accurately found by the director - a small and purely everyday detail of "family life", like men's socks ("washing his - in a sense, the "main duty" of any "real woman", isn't it?), And is not forgotten, and is played with ballet grace and with the same "ballet", iconic convention: here no one sniffs socks, as Raikin's Hamlet did in Sturua so nature anyway Lizm literally "does not smell".
The perfection of a bright, sharp theatrical form, however - paradoxically, but also logical, inevitable, fatal - reveals and sharpens the contradictions inherent in the play by its author, Ivan Vyrypaev (whereas the author's reading to a large extent removed them). And the same questions arise as in connection with the previous joint work Ryzhakova-Vyrypaeva, "Dreamworks * * A Dream Comes True" at the Moscow Art Theater, which I went to watch twice in a row, the performance is painfully good, but the better the performance, the stronger the suspicions about the play:
In general, lately one has often come across the opinion that Vyrypaev has brought his compositions to the limits of formal mastery, and under this fashionable packaging of a dramatic form he sells a dubious, controversial, if not cruder, ideology. Opinions, hand on heart, are not unfounded, in connection with which you will inevitably wonder if Ryzhakov is doing a "disservice" to Vyrypaev, adding ambiguity, complexity, contradictions with his excellent performances, essentially primitive, and sometimes with a very unpleasant odor, propaganda cliché, which Vyrypaev so diligently and deftly packs up into one piece after another, or rather, starting from The Dance of Delhi, he is already repackaging (after Illusions, I have already noted this for myself many times, all the following Vyrypaev plays seem to be made from recycled materials, which does not cancel the liquidity of the product and the smooth running of conveyor production). In relation to the "Solar Line" such questions are less acute than in connection with "A Dream Comes True" or "Drunk", but nevertheless, I again have not finally decided for myself: where is the line of Vyrypaev's high-tech foolishness when he stops "preaching and begins to "play the fool", or has Vyrypaev completely and seriously fucked up on the basis of any kind of "spirituality"?
According to Ryzhakov's performances, in any case, according to the best of them (which, unequivocally, include "Solar Line", and "A Dream Comes True", and "Drunk", but, in my opinion, do not include, in my opinion, his "Illusions" at the Moscow Art Theater) one might get the feeling that Vyrypaev is generally “playing the fool” from beginning to end, that his plays are morally and ideologically ambivalent, that this is a filigree and purely formal game, from which the director and actors carve their own meanings in the process of interpretation. I remained with this conviction for a long time, perhaps I broke down on "Dream Come True"; "Solar Line" is a tempting reason to believe again that "ideology" and "sermon" for Vyrypaev are only part of the form, but still, I'm afraid this is not so, and this is sad, and we should not forget about it, no matter how much we would like to "Achieve a positive outcome."
photo of Knyazenka and Olya Galitskaya
The artistic director of the TsIM, Viktor Ryzhakov, is once again staging his favorite playwright: from the romantic Oxygen at the Theatre. doc"The Moscow part of their biography began, which fifteen years later continues with the" Solar Line ". There are also two protagonists here, but these are no longer Sasha and Sasha rushing towards each other at space speed, but respectable bourgeois Barbara and Werner, trying at least not to get a divorce - even if at five o'clock in the morning in the kitchen of their prosperous home everything goes to this.
Ryzhakov is the record holder for the productions of Vyrypaev's plays: "Genesis No. 2" with Svetlana Ivanova and Alexander Bargman and "July" with Polina Agureeva in "Practice" plus three performances at the Moscow Art Theater. Chekhov's works are formed into a long-term dialogue that the director has with the most important Russian-speaking playwright of our time. The territory of this dialogue, and at the same time its subject, is the actor's existence, which Ryzhakov explores year after year. Having chosen Vyrypaev as their interlocutor, Ryzhakov the director and Ryzhakov the teacher set themselves the most difficult task: to figure out the notorious new naturalness, sewn up in cunning, relativistic texts, so skillfully deceiving the viewer, ready to believe that Vyrypaev’s elegant tricks are philosophical instructions for life.
Ekaterina Kraeva
On the wide platform of the TsIM there is a platform covered with craft paper (Ryzhakov is working with the outstanding stage designer Nikolai Simonov for the first time), in the center of which Andrey Burkovsky and Yulia Peresild froze in a fur hat borrowed from Barbara Brylskaya. A musical signal - and a verbal battle begins, turning into assault at the climax: closer to the final, dressed from Bosco di Ciliegi the heroes of the "Solar Line" beat each other in all possible ways, as in horror films, with caricature wringing of arms and tasty blows to the groin. The background for the exhausting, pathetic, funny duel, interspersed with elegant obscenities, is a video by Vladimir Gusev depicting either the interior of a house, or slanting rain, and at the moment of a touching confession it explodes with a scattering of space.
The letter of the play is the letter of the play.
The refinement and repeatability of the form, impaled on a rigidly set rhythm, make it possible not only to recognize Ryzhakov's signature style, but also to feel the texture and music of Vyrypaev's play. When the paper is torn off the shiny mirror surface and the platform is turned horizontally, the artists will find themselves in a territory where every movement and every word can be deadly risky - both literally and figuratively. "Solar Line" at TsIM is a performance about how difficult any attempt at communication is and how sometimes it is easier to neglect it than to fight to the end.
Ekaterina Kraeva
According to Vyrypaev (why is he not a theoretician of modern theater?), the letter of the play is the letter of the performance: the more concise the director is, the more successfully he will cope with the text. The Solar Line really resembles a small engine of a folded mechanism: in it, the word is tantamount to action - and this is not a game of a situation, not a system of successful reprises, but a chain reaction of a theatrical dialogue in which the very first remark works like a trigger. Barbara and Werner, so recognizable in their frustrations, reminiscent of the heroes of countless petty-bourgeois television dramas, the word leads, deceives, prevents them from establishing contact - but in the end it gives a chance. After spending several hours alone in a row, they make a circle: from complete misunderstanding - to an attempt to get closer to each other, however, under false names.
The effect of the "Solar Line" is based on a combination of tenderness and brutality, irony and pathos, and this game of registers requires the performers to have both high skill and renunciation of handicraft. Secret correct performance of a play lies in maneuvering between the genre, pronunciation of the text at high speed, specificity and the ability to remain oneself. The genre of a stylized family drama is given to both easily: the audience laughs, recognizing in the heroine Peresild the entire range of the feminine from softness to bitchiness, in the hero Burkovsky - an archetypal man going crazy from the irrational logic of his partner. Vyrypaev's text flies like a comet, at times crashing - thereby producing a comic effect - into the scene's attempts to explain everything with everyday logic.
Roman Kanashchuk
But as far as personal presence is concerned, Solnechnaya Liniya is the antithesis of the simple and energetic Oxygen, which forever changed the course of the modern history of Russian theater. In the frankness of the then Vyrypaev manifesto, the essence of the time was captured, seeking a new sincerity and nihilism - and not finding them in the theater. In the sophisticated constructions of Vyrypaev's plays of the 2010s, sincerity is hidden behind a system of defamiliarizations, but even they retain their life-creating potential: passing through the play, as if through fire or water, the viewer gets a real experience of "healing with a word." In this sense, one of the subtitles of "Solar Line" - "a comedy that shows how a positive result can be achieved" - very accurately reflects the reality of Ryzhakov's performance: with the right performance, the result is obvious.
