Vacation in France

Chuvash Drama Theater Blood Wedding

Life Stage play 'Blood Wedding' Garcia Lorca, set in the Chuvash Drama Theatre Valery Yakovlev, more than ten years. 'Blood Wedding' by the definition of the poet 'is written on Bahu '. What stage a decision had to find V. Yakovlev, to convey to the audience an unusual worlds heroes Garcia Lorca, the essence of character, choirs and dialogues. If we talk about the second act, where the dialogues are full of the moon and the Pauper secret meaning, and metaphorical language, it becomes clear that the question of audience perception of these scenes and the whole performance as a whole had to worry about the director. Well knowing the level of its audience, respecting and trusting it and using it emotionality, Valery Yakovlev, aims to gradually lead the audience on the steps of learning and conquering new heights of creative thinking.

Therefore, the play director is looking for something that Garcia Lorca was looking into poetry, 'the nerve of the form'. Only the curtain opens and not having a detailed look at scenery, but only covering her eyes and felt the strong and measured stone building, towering alone in the middle and fits into the secular the silence of the mountains, gives you a sense of severity and a strange calm. But in an instant your senses will come to the confusion, by a monolithic block of headlong groom. Flares in his hands scarlet cloth, which was born in your soul a vague alarm. What is it, what show? The image flickered, like a vision, full of anxieties and secret meaning And then comes the earth and real life. At center stage sat mother and turns the millstones. Her hands, rotating millstone Comes the son, the Bridegroom, and said that I loved her and wanted to marry. The action here is distinguished by its measured rhythms and everyday life.

After the dance groom it seems even slower. Rhythms of the actions correspond to the rhythms lives of people accustomed to the mountains, and, consequently, to the rigors of everyday life. And therefore, like their harsh. Their hands, they cultivate the soil and grow crops, heard by their own and others' destiny. A millstone in the hands of the Mother as symbol of life-all revolve and rotate. Tired of her hand, said another millstone. And the scene, this home at first glance, bears the image of a conditional continuing existence, a way of life. This is crucial because later in another scene, there the image of death, the image of the limit of human destiny. Life and death, only life and death. For the feature of human life has no problems-all only to the extent of life: love and hate, revenge and hostility; not crossed its threshold, this is a major human commandment. At the end of the tragedy is understood mother. 'What am I your purity? What am I your death? What is it to me? Blessed wheat, because underneath my sons. Blessed rain, for He washes the dead. Blessed God, for he will calm all of us' – says she's bride. And what it represents is the 'free love', which did not pity, and indeed much does it cost compared to the great wisdom Clearwisdom Mother, which together with the loss of sons, felt a like tremors, return it to realize its natural purpose – life preserve, protect it by all means available, because above it there nothing in the world, just as there was nothing for the 'limit of the road'. Leonardo and the place of his entire family, Felix's mother tried to recover it needs harmony of justice and honor. But the fault of the Bride, who escaped from a wedding with her first lover, Leonardo, and it initiated a shame to wash off blood and die not only by Leonardo, but the last child of the mother. Of small living feelings and passions mother rises to the comprehension of high poetry of life and that she may give place to the Bride and even her death, if there is no such a force, to restore her own shattered world, if anything it is impossible to fix and create again. Yakovlev strives to raise its audience to such a imaginative understanding of the performance. For this purpose he uses the synthesis of realistic and quasi-metaphorical language. The scheme of the play is constructed in strict accordance with the play: in the beginning the focus of man, his daily care, then transition to abstraction and back again to man. Ludmila Vdovtseva

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