What is the play about Caligula? "Caligula": a performance without words based on the play by Albert Camus. Involved in the play

Photos

Description

History of creation

The idea of creating a play about the tyrant emperor Caligula came to Albert Camus in 1937. The work was based on the work of the Roman historian Suetonius, which the writer was engrossed in. According to the memoirs of contemporaries, Camus was deeply fascinated by the complex and extraordinary personality of the bloodthirsty emperor. In his work he did not claim historical accuracy. Camus set himself the goal of highlighting the problem of Caligula's violent metaphysical protest. Using the lines that Caligula actually spoke, Camus gives them a slightly different meaning, deeper and with philosophical overtones.

The first edition of the play was completed in 1939. A series of more edits followed. With each new edition, the personality of the main character became more complex and multifaceted. Shortly before the work was ready for publication, the Second World War began World War. This prevented "Caligula" from seeing the world. In the midst of the war, Camus created another and latest edition plays. In addition to the changes made to the plot, Camus supplemented the work with notes regarding the scenery.

The premiere screening of "Caligula" took place in 1945 in Paris. The audience was inspired by the production. Many associated the image of Caligula with Hitler, however, the author himself did not set out to draw historical parallels.

Features of the production

The idea to stage Caligula on the stage of Sovremennik was nurtured for almost eight years. She came to the Lithuanian director Eimuntas Nyakrosius during the rehearsal of another magnificent play - “The Cherry Orchard”, in which Yevgeny Mironov played Lopakhin superbly.

When staging Caligula, different directors interpret Caligula's motivation differently. According to Nyakrosius, the emperor’s cruelty stems from his extraordinary life philosophy, out of desperate attempts to restore stability to their dangerously shaken world.

Plot of the play

Caligula - young emperor. He is filled with faith in his own power and enjoyment of life in all its manifestations. But one day his picture of the world is shattered: first his sister dies, and then his beloved. Having buried the people who were closest to him, Caligula is transformed. His thoughts are taken over by the idea of getting rid of attachments, taken to the point of absurdity. When the patricians find Caligula in the garden after several days of absence, he tells them that from now on everything will change.

Systematically and cruelly, he deprives his courtiers first of their fortune, then of their dignity, of their loved ones and, ultimately, of their lives. He does all this with a complete lack of any empathy. His actions are devoid of theatricality and strain. He is consistent and calm, giving the order to execute one of the patricians. The courtiers, in turn, with slavish obedience endure all the emperor's antics, condemning him among themselves, but falling silent as soon as the tyrant appears. When he makes them dance and laugh, they follow his instructions, despite the fact that recently he raped the wife of one of them, killed the son of another...

Soon the old patrician tells Caligula that a conspiracy is being prepared against him. Some of the courtiers have been driven to the extreme point and do not intend to tolerate bullying any longer. Oddly enough, even this does not evoke any special emotions in the emperor. Even when Kerea reveals Caligula to his plans to assassinate him, he allows him to escape unharmed.

Involved in the play

Evgeniy Mironov
Helicon: Igor Gordin
Caesonia: Maria Mironova
Kereya: Alexander Gorelov
Mucius: Alexey Kizenkov
Scipio: Evgeny Tkachuk, Kirill Byrkin

The play “Caligula” is the winner of several theater awards and has taken part in tours in Russian cities. Nyakrosius's "Caligula" has been shown several times at international festivals, including "Adriana's Villa" in Italy. Don't miss this magnificent performance. You can buy tickets to “Caligula” at the lowest prices on our website. Here you will find not only the opportunity to pay for your purchase in any way convenient for you, but also a detailed schedule, the most full information about the performance, quality service and timely information support.

Caligula. Version without words 18+

The Moscow Provincial Theater presents the play "Caligula".

On December 23 and 24, the premiere of the play “Caligula” staged by director-choreographer Sergei Zemlyansky will take place on the stage of the Moscow Provincial Theater under the direction of Sergei Bezrukov.

Director-choreographer: Sergei Zemlyansky
Scenography and costumes - Maxim Obrezkov
Composer: Pavel Akimkin
Libretto author: Vladimir Motashnev
Lighting Designer: Alexander Sivaev
Assistant choreographer - Dmitry Akimov

Starring: Ilya Malakov, Stanislav Bondarenko, Maria Alexandrova (prima Bolshoi Theater), Ravshana Kurkova, Maria Bogdanovich (ballerina of the Bolshoi Theater), Vera Shpak, Katerina Shpitsa, Zoya Berber and others.

Sergei Zemlyansky creates plastic performances with dramatic artists and is essentially the founder of a new direction in drama theater- “plastic drama”. This direction appeared at the intersection of three theatrical genres: dramatic performance, dance theater and expressive emotions of pantomime. The basis of the wordless style, as the director himself denotes it, was the creation artistic image not only with the help of body plasticity and bright musical accents, but also with the use of characteristic dance elements. Sergei Zemlyansky's performances are distinguished by enormous expression, grotesque presentation of character images, and the use of visual and musical effects. Creating plastic performances with dramatic artists, he believes that “nothing can reveal and convey all the edges and crannies of a complex human soul as precise and powerful as body language.”

The value of the new style “Plastic Drama” lies in the fact that translation occurs in it dramatic works in a language understandable in any country in the world. After all, emotions are understandable to everyone. Only the most deep meaning, cleared of the falsehood of words. Depriving the dramatic actor of his most important tools - text and voice, Zemlyansky finds new tools of expression. Music, scenography, and visual effects come to his aid.

This work of the director-choreographer will be the second collaboration with the troupe of the Provincial Theater: most recently, the premiere of Anna Gorushkina’s play based on Arthur Miller’s play “View from the Bridge” took place, where Sergei Zemlyansky acted as a plastic director.

In addition, “Caligula” will continue to develop the direction chosen by the Moscow Provincial Theater, – to be “a theater accessible to everyone.” Its repertoire already includes performances with audio commentary services, accessible to visually impaired viewers. And in “Caligula”, in addition to dramatic artists, hearing-impaired actors will be employed. “If previously we worked to be accessible to audiences with disabilities, now we will bring artists with disabilities to the stage,” explains artistic director Theater Sergei Bezrukov.

Sergey Zemlyansky, director-choreographer

« The idea to stage “Caligula” arose a long time ago. Herself historical figure Guy Julius Caesar still continues to live, being reborn from century to century in literature, cinema and theatrical productions. We will work in our traditional non-verbal manner, depriving the characters of “words.” In the play Hearing-impaired artists will take part. We find it interesting to use the sign language that is familiar to them, to which they will be devoted art form. This joint philosophy will make the work even more multifaceted!

At the coreproductions - not only the plot of the play of the same name Albert Camus, but also historical materials, stories works of art other authors. We don't want to limit ourselves to one story. We are interested in fantasizing, composing a play together with the actors, creating the world of the hero, the reasons for his actions and desires. We are not interested in who is good and who is bad. We explore the reasons for what exactly makes a person cruel and why people still crave such rulers. What creates fear and the desire to obey? Is this a curse or the only form of existence?”

Sergey Bezrukov, artistic director

“Perhaps the choice of this material for production in our time will cause surprise. It would seem that what do we need in the history of the Roman emperor Gaius Julius Caesar, nicknamed Caligula? The classic question is: what do we need Hecuba? But there is nothing more important and interesting than exploring human nature, his passions, ups, downs - “the life of the human spirit” that Stanislavsky spoke about. How does a vulnerable young man grow into a tyrant, whose cruelty was legendary, what happens to him? Sergei Zemlyansky is a talented director with his own unusual theatrical language, and I think for our actors to work with him, to try themselves in a new genre, is a very useful experience.”

Information about the director:

Sergey Zemlyansky was born in the city of Chelyabinsk in 1980. In 2002 he graduated from the Chelyabinsk State Academy of Culture and Arts (specializing in choreography). He studied at master classes with European and American teachers and choreographers. In the period 2001-2005 he was a dancer at the Provincial Dances Theater (Ekaterinburg) under the direction of Tatyana Baganova. He worked in the performances “On the Road” by choreographer J. Schlemer (Germany) and “STAU” by Dutch choreographer Anouk Van Dyck (the project was implemented in July 2004 in Moscow). Since 2006, he has been collaborating with the SounDrama studio, with which he has staged more than 15 performances in Russia and abroad.

As a choreographer, Sergei Zemlyansky has staged more than 30 performances, including:

"Transition". (2005 Center for Drama and Directing Kazantsev and Roshchin, SounDrama Studio, Director V. Pankov, Moscow)

"Morphine". (2006 Et Cetera Theater, Director V. Pankov, Moscow)

“Gogol. Evenings" Part I. (2007, V. Meyerhold Center, SounDrama Studio "Theatrical Solutions", Director V. Pankov, Moscow).

"After me". 2008 (Lose dance company, Chelyabinsk)

“No matter what” Duet for the “Arabesque” ballet competition. (2008 Perm)

“Gogol. Evenings" Part II. (2008 V. Meyerhold Center, SounDrama Studio, “Theater Solutions”, Director V. Pankov, Moscow)

“The Third Shift” (2008, Joseph Beuys Theater, director F. Grigoryan, Moscow)

“Territory of Love” (2009 “Art-Partner XXI”, SounDrama Studio, Director V. Pankov, Moscow)

“Phaedra” (2009, A.S. Pushkin Theater, director M. Khemleb)

“Chukchi” (2009, Scene-Hammer Theater, director F. Grigoryan, Perm)

“Gogol. Evenings" Part III. (2009 V. Meyerhold Center, SounDrama Studio, “Theater Solutions”, Director V. Pankov, Moscow)

“Phaedra” (2009, A. S. Pushkin Theater, director L. Khemleb, Moscow)

“Les deux genres” (2009 Grand Ballet Gala “Masterpieces”, Moscow)

“Romeo and Juliet” (2009 Theater of Nations, Director V. Pankov, Moscow)

“Room” (2010, Dialog-Dance company, Art-site “Station”, Kostroma)

“Seven Moons” (2010, M. Weil Theater “Ilkhom”, SounDrama studio, Director V. Pankov, Tashkent)

“I, Machine Gunner” (2010, SounDrama Studio, “Theatrical Solutions”, Director V. Pankov, Moscow)

"ABOUT. S.”(SounDrama studio, 2011)

"City. OK", experimental program of the international theater festival named after. A.P. Chekhov, SounDrama studio in collaboration with Studio 6 (USA), 2011. Director V. Pankov.

“Woe from Wit” (Perm State academic theater“THEATRE”, 2011 Director F. Grigoryan)

“Sneakers” (2012, dir. Ruslan Malikov, Praktika theater)

“Country of Residence” Dialog-Dance company, art site “Station”, Kostroma, 2012

“Doctor” is a film directed by Vladimir Pankov, scripted by Elena Isaeva, produced by Vladimir Menshov and Alexander Litvinov. year 2012

“Autumn Sonata” (Contemporary, 2012. Director Ekaterina Polovtseva.)

"Orpheus Syndrome" ( a joint project theater "Vidy-Lausanne", Switzerland, SounDrama studio, school of the ballet of Maurice Bejart "Rudra Bejart" and the International Confederation theatrical unions, 2012 Director V. Pankov)

“The Wife” (Dir. Mikhail Stankevich, Moscow Theater under the direction of O. P. Tabakov, 2012)

“Machine” (“Gogol Center”, 2013 director V. Pankov), winner of the Golden Mask award

“The Yard” (“Gogol Center”, 2014, director V. Pankov)

"War" (Co-production) International festival named after Chekhov, Moscow, Edinburgh theater festival, Confederation of Theater Unions, studio “SounDrama” 2014, Director Vladimir Pankov.

“The Stupid Artist” (Dir. Mikhail Stankevich, Moscow Theater under the direction of O. P. Tabakov, 2014)

“Jealous of myself” (E. Vakhtangov Theatre, director A. Koruchekov, 2014)

Chamber theater. 100 years. Performance dedication. (2014, director Evgeny Pisarev, the set designer of the dedication performance was Zinovy Margolin, the choreographer was Sergey Zemlyansky)

“Peter Pan” (New stage of the E. Vakhtangov Theater, director A. Koruchekov, 2015)

“A Clockwork Orange” (2016, Theater of Nations)

"Metamorphoses" (2016 Academy of Cinematographic and theatrical arts Nikita Mikhalkov)

As a stage director:

“Mother’s Field” (2012, A.S. Pushkin Theater)

“The Lady with Camellias” (2013, Pushkin Theater)

"Winter" (2014 Theatre Institute named after Boris Shchukin)

“Demon” (2014, M.N. Ermolova Theater)

“Indulis and Aria” (2014, Liepaja Drama Theater)

Text: Natalya Guseva
Photo:

On December 23 and 24, the premiere of the play “Caligula” based on the play by Albert Camus, directed by choreographer Sergei Zemlyansky, will take place on the stage of the Moscow Provincial Theater. The remark in the poster is “version without words.” The authors of the play abandoned the text as the basis of dramatic theater and tried to find other artistic media expressing your thoughts, feelings and emotions.

This is the second collaboration between the director and choreographer and the troupe: most recently, the premiere of Anna Gorushkina’s play based on Arthur Miller’s play “A View from the Bridge” took place, where Sergei Zemlyansky acted as a plastic director. Now, for his production, Sergei has chosen no less complex material - the tragedy of Albert Camus “Caligula”, because “Caligula” is a timeless story. This one is extraordinary historical image It has been worrying theater workers, both directors and actors, for decades.

— The idea to stage “Caligula” arose a long time ago. We will work in our traditional non-verbal manner, depriving the characters of “words.” Hearing-impaired actors will take part in the performance. We find it interesting to use their familiar sign language, which will be faithful to the artistic form. This joint philosophy will make the work even more multifaceted! The production is based not only on the plot of the play of the same name by Albert Camus, but also on historical materials and plots of works of art by other authors. We don't want to limit ourselves to one story. We are interested in fantasizing, composing a play together with the actors, creating the world of the hero, the reasons for his actions and desires. We are not interested in who is good and who is bad. We explore the reasons for what exactly makes a person cruel and why people still crave such rulers. What creates fear and the desire to obey? Is this a curse or the only form of existence? - admitted Sergei Zemlyansky.

The performance “Caligula” is at the intersection of three theatrical genres: dramatic performance, dance theater and the expressive emotions of pantomime. The authors of the play abandoned text as the basis of dramatic theater and tried to find other artistic means of expressing their thoughts, feelings and emotions. At the same time, the creation of an artistic image occurs not only with the help of body plasticity and bright musical accents, but also with the use of characteristic dance elements.

The language “Without Words” is understandable and close to everyone, regardless of gender, age and nationality. It is a body language that has absolute sincerity and freedom to penetrate every heart. The libretto by Vladimir Motashnev, written specifically for the play “Caligula,” contributes to a deeper understanding of the dramatic material. Beautiful historical costumes of the actors and stage design, which were created by Maxim Obrezkov, allowed the viewer to be transported to the bygone era of the Romans and the cruel emperor.

The play involves both dramatic actors and the hearing impaired. Professional dancers participate. All artists of different genres, levels and ages gathered in one big performance.

What is the main value of “plastic drama” was told by director Sergei Zemlyansky.
- I don’t know how valuable this is for wide range spectators - some are afraid of it, some think it’s a ballet or some other strange dances. In fact, it is very interesting for me to work with dramatic artists - it is not always important to me how the leg is raised, how the knee is extended, the essence is important - especially if you work with drama, the essence of the experiences of this or that character is important. And here the dramatic artist’s ability to acquire such a physical form is needed so that it is expressive, speaking and concrete, so that the scene does not sag, so that he can convey to the viewer this or that emotion, the state of the hero. Dramatic artists, understanding what they are doing, and being able to do it from the point of view of conveying drama, endless boundless love or hatred, varying certain emotional states, using bodily expressiveness, in which I help them, achieve, in a global sense, endless values from the artist's point of view.

A tough, clear rhythm, sincere and bright acting, spring-like elasticity of the production - all this determined the face of the performance.

Albert Camus described the essence this way acting: “The actor invades the soul, removes the spell from it, and uninhibited feelings flood the stage. Passions speak in every gesture, but what do they say - they shout. To present them on stage, the actor seems to re-invent his characters. He depicts them, sculpts them, he flows into the forms created by his imagination and gives his living blood to the ghosts.”

The main male role in different compositions played by young artists Ilya Malakov and Stanislav Bondarenko.

Their Caligula is a character obsessed with manic-depressive ideas. He believes that he is capable of going beyond human capabilities. Like a chameleon, he changes one mask to another, but is defeated. Caligula pays for him with both a stranger and his own death.

A journalist from our portal asked the actors how they managed to get used to the role of such a strong and bright historical figure.
“Caligula is an unusual character,” confirmed Stanislav Bondarenko. – And, of course, I do not support his methods. Most of them are not acceptable to me. Therefore, I tried to understand the essence of Caligula.
“Yes, our goal was to understand and justify Caligula,” Ilya Malakov picks up the conversation, “to understand the tragedy and his inner world. Why did he behave this way? After all, the actor’s profession is to understand and justify his character. This is a role that can be studied endlessly.
How hard is it to play “without words”?
— Sergei immediately advised us, look for what helps you get used to the role. In general, it’s difficult, and at first we said a phrase about what we wanted to do, and only then it was removed and replaced with gestures. And only then Seryozha hones it so that it looks more expressive, says Ilya.
“And these are gestures that are more interesting, more understandable to the audience who will come to watch the performance,” Stanislav agreed with his colleague. “They will understand the plot without words.”

The role of Cesonia was given to Ravshana Kurkova and the prima of the Bolshoi Theater Maria Alexandrova, and Drusilla - Katerina Shpitsa and Maria Bogdanovich (ballerina of the Bolshoi Theater).

“I haven’t had a theater like this in my life for a long time,” said Katerina Shpitsa. “I, of course, go on stage, but this is my first time in such a performance.” I saw Sergei’s work, or more precisely, his play “Demon,” so I gladly agreed to participate. I have an excellent relationship with the team.

Our journalist also asked the actress about her attitude towards the historical character Caligula.
- How can you treat him? Ambiguous, of course. Any outstanding historical figure overgrown with legends, fictions, myths. Everyone is trying to analyze this personality, it passes new era, new people who are trying to rethink history, and contribute their thoughts. I think Caligula is like historical character, if we ignore politics, of course, very shining example, how the dark side of the personality finds its way out, while the people around him suffer. But we don’t know how much of the documentary truth there is in this. I play Drusilla, Caligula's sister, with whom he was in love. According to our version, her death led to his insanity and served as an impetus for everything dark inside him to break free. The image, of course, is very symbolic and allegorical, because inside every man there is a female part of the soul, which is responsible for feelings and emotions and spirituality, just like a woman, there is a male part that quickly makes certain decisions. This is the voice of reason. It is in Caligula that we see how the male part mixes with the female. And that’s why he begins to lose the boundaries of reason,” Katerina answered.

The performance turned out to be monumental, expressive and spectacular, and at the same time deep and dramatic. Words are really not needed here, you just need to see and feel the acting itself. Starting from December 23, the performance will be performed on the stage of the Moscow Provincial Theater.

Categories:

The performance is staged in the genre of “plastic drama”. At the same time, the creation of artistic images occurs not only with the help of body plasticity and bright musical accents, but also with the use of characteristic dance elements, music, scenography, and visual effects. At the heart of the production Sergei Zemlyansky - not only the plot of the play of the same name by Albert Camus, but also historical materials, plots of works of art by other authors.

Sergey Zemlyansky creates plastic performances with dramatic artists and is essentially the founder of a new direction in dramatic theater - “plastic drama”. This direction appeared at the intersection of three theatrical genres: dramatic performance, dance theater and the expressive emotions of pantomime. The basis of the wordless style, as the director himself denotes it, was the creation of an artistic image not only with the help of body plasticity and bright musical accents, but also with the use of characteristic dance elements. Sergei Zemlyansky's performances are distinguished by enormous expression, grotesque presentation of character images, and the use of visual and musical effects. Creating plastic performances with dramatic artists, he believes that “nothing can reveal and convey all the facets and corners of the complex human soul as accurately and powerfully as body language.”

The value of the new style “Plastic Drama” lies in the fact that it translates dramatic works into a language understandable in any country in the world. After all, emotions are understandable to everyone. Only the deepest meaning remains, cleared of the falsehood of words. Depriving the dramatic actor of his most important tools - text and voice, Zemlyansky finds new tools of expression. Music, scenography, and visual effects come to his aid.

In addition, “Caligula” will continue to develop the direction chosen by the Moscow Provincial Theater - to be “a theater accessible to everyone.” Its repertoire already includes performances with audio commentary services, accessible to visually impaired viewers. And in “Caligula”, in addition to dramatic artists, hearing-impaired actors will be employed.

Sergey Zemlyansky: “The idea to stage “Caligula” arose a long time ago. The historical figure of Guy Julius Caesar himself still continues to live, being reborn from century to century in literature, cinema and theatrical productions. We will work in our traditional non-verbal manner, depriving the characters of “words”. In the play Hearing-impaired artists will take part. It seems interesting to us to use the sign language that is familiar to them, which will be given an artistic form. This joint philosophy will make the work even more multifaceted!

The production is based not only on the plot of the play of the same name by Albert Camus, but also on historical materials and plots of works of art by other authors. We don't want to limit ourselves to one story. We are interested in fantasizing, composing a play together with the actors, creating the world of the hero, the reasons for his actions and desires. We are not interested in who is good and who is bad. We explore the reasons for what exactly makes a person cruel and why people still crave such rulers. What creates fear and the desire to obey? Is this a curse or the only form of existence?”

Sergey Bezrukov, artistic director

“Perhaps the choice of this material for production in our time will cause surprise. It would seem that what do we need in the history of the Roman emperor Gaius Julius Caesar, nicknamed Caligula? The classic question is: what do we need Hecuba? But there is nothing more important and interesting than exploring the nature of man, his passions, ups, downs - “the life of the human spirit” that Stanislavsky spoke about. How does a vulnerable young man grow into a tyrant, whose cruelty was legendary, what happens to him? Sergei Zemlyansky is a talented director with his own unusual theatrical language, and I think for our actors to work with him, to try themselves in a new genre, is a very useful experience.”

Director-choreographer – Sergey Zemlyansky
Scenography and costumes– Maxim Obrezkov
Composer– Pavel Akimkin
Author of the libretto– Vladimir Motashnev
Lighting designer– Alexander Sivaev
Assistant choreographer– Dmitry Akimov
Starring: Ilya Malakov, Stanislav Bondarenko, People's Artist RF Maria Alexandrova, Maria Bogdanovich (ballerina of the Bolshoi Theater), Katerina Shpitsa, Zoya Berber, Vera Shpak and others.

Address: M. Kuzminki, Volgogradsky Prospekt, 121

Version without words

Based on the play by A. Camus

The image of the famous Roman emperor Gaius Julius Caesar, nicknamed Caligula, still continues to live, being reborn from century to century in literature, cinema and theatrical productions.

Sergei Zemlyansky’s production is based not only on the plot of Albert Camus’s play of the same name, but also on historical materials and plots from works of art by other authors. The performance is staged in the genre of “plastic drama” - without words. The creation of an artistic image occurs not only with the help of body plasticity and bright musical accents, but also with the use of characteristic dance elements. The theater explores the inner world of the hero, the reasons for his actions and desires. What exactly makes a person cruel, and why do people still crave such rulers? What creates fear and the desire to obey? Is this a curse or the only form of existence?

Sergei Zemlyansky creates plastic performances with dramatic artists and is essentially the founder of a new direction in the dramatic theater - “plastic drama”. This direction appeared at the intersection of three theatrical genres: dramatic performance, dance theater and the expressive emotions of pantomime. The basis of the wordless style, as the director himself denotes it, was the creation of an artistic image not only with the help of body plasticity and bright musical accents, but also with the use of characteristic dance elements. Sergei Zemlyansky's performances are distinguished by enormous expression, grotesque presentation of character images, and the use of visual and musical effects. Creating plastic performances with dramatic artists, he believes that “nothing can reveal and convey all the facets and nooks of the complex human soul as accurately and powerfully as body language.”

Sergei Zemlyansky: “The idea to stage Caligula arose a long time ago. The historical figure of Guy Julius Caesar himself still continues to live, being reborn from century to century in literature, cinema and theatrical productions. We will work in our traditional non-verbal manner, depriving the characters of “words.” Hearing-impaired artists will take part in the performance. We find it interesting to use their familiar sign language, which will be given an artistic form. This joint philosophy will make the work even more multifaceted!

Sergey Bezrukov, artistic director

Information about the director: