Moscow theater lovers are horrified by the prices for the play “Hamlet” by the St. Petersburg Maly Drama Theater starring Danila Kozlovsky and Elizaveta Boyarskaya, which will be shown as part of the festival “ Golden mask": ticket prices vary from 15 to 20 thousand rubles. At the same time, in St. Petersburg, tickets for the same performance cost from 3 to 12 thousand. Bloggers note that tickets in London to see Hamlet with Benedict Cumberbatch are cheaper.
On February 17, the Golden Mask Theater Festival announced the cost of tickets for the play “Hamlet” of the St. Petersburg Maly Drama Theater - Theater of Europe, which will be shown in Moscow at the Pyotr Fomenko Workshop theater as part of the festival. Ticket prices vary from 15 to 20 thousand rubles.
Production of "Hamlet" on new way In the interpretation of director Lev Dodin, it received many rave reviews from critics. According to the plot, the action is transferred to modern Russia. The role of Hamlet is played by Danila Kozlovsky, and Ophelia is played by Elizaveta Boyarskaya.
The high price of tickets outraged theater lovers who were planning to attend the performance; they wrote indignant reviews on social networks.
Many note that tickets for this performance at the Maly Drama Theater in St. Petersburg cost from 3 thousand rubles and even with a trip, going to the theater will cost less.
The theater's website lists the price of tickets for Hamlet from 3 to 12 thousand rubles, but there are no more tickets for two performances that will take place in April. Bloggers also write that it’s impossible to get tickets for the performance - it’s so popular.
But you can’t get tickets from us, but it’s cheaper this way, of course :)
“In Shakespeare’s world they were not interested in lack of will, but rather in chivalry. Hamlet is a strong-willed principle, not a weak-willed one.” This is what Boris Pasternak wrote when he took on the translation of Shakespeare’s great tragedy. Hamlet is a knight, he THIRSTS. Thirst drives him, and the thirst for what is not so important, in this case- revenge, but righteous, Christian revenge. As is commonly believed...
This is Shakespeare's longest play, fraught with a lot of pitfalls. First of all, its danger lies in the fact that Shakespeare was not only an outstanding writer, but also a playwright and knew better than any director HOW everything should look on stage. Therefore, anyone who takes on a play takes on a heavy burden. A - Don’t be secondary B - Don’t be boring, since the basis of all Shakespeare’s poetry is RHYTHM. It is tempo that is the absolute basis for the implementation of performances based on this author.
Lev Dodin is an unsinkable cruiser. Having been accused dozens of times of loving nudity on stage, obscene language, and certain frivolities. He remains a leader classical theater, while being an absolute radical. His inquisitive mind, intuition, knowledge modern theater move him forward. He gives birth all the time new uniform and at the same time never gets on the list of singers of a new drama. In the Cherry Orchard - he revealed the connection between Varya and Lopakhin, showed real garden, brilliantly solved the space and way of existence of the heroes. In Insidiousness, Schiller's seemingly absolutely mothballed work created such a degree that tension physically hangs in the air. At 71 years old, the master stages the way hungry, furious, young talents stage. Realizing the time, the plot, the ambiguity of the material, the trends of our time, the only right decision was made - not to stage one text about Hamlet, but to write a combined essay based on different texts. De facto, write a new work based on.
Tempo-rhythmically, the master worked brilliantly. 2 hours without intermission without losing each of the fundamental meanings. “Reduce all life to necessity, and man becomes equal to an animal.” The prince's rebirth is rapid. The thirst for revenge gives birth to bestial energy. Dodin’s tight, dense style of directing forces one to look for more space above the ceiling, and it would seem that Danila Kozlovsky’s completely insane Lopakhin from the Garden is here becoming Satanic to the point of infinity. If there he screamed heart-rendingly and hysterically sang My Way, then here in his pointedly ironic tongue twisters there is real anger, life is a bitch, and he knows it very well. Hamlet speaks differently from any other character in the play. He cuts with words, hits with them, he goes towards his goal. He is the darling of fate, he is ambitious, the power may be his, but he changes everything in order to defend his father. Dodin puts the story of debt.
But the grandiose formulation of the question is different, and this makes Dodin’s performance avant-garde in all respects - Why is it actually customary to justify the prince? Are all the remedies good? Isn’t it a crime to justify a real crime with righteous vengeance? This question runs like a red thread. Dodin is not interested in surprising with decor; the scene is emphatically ascetic. The only thing that matters is feelings and their chaos. The performance is imbued with yet another energy that only works for Dodin. Sexual energy, eroticism. For many years I have been puzzling over why the most important topic in people's lives - passion, attraction - is cowardly ignored by others. great masters and I get the answer - They just don’t know how to work with it. Dodin knows. Perhaps only him.
The acting did a phenomenal job. The Kozyrev-Kuryshev-Ivanov trio is incomparable. It is this that articulates Dodin’s main premises and ideas. The master removes some heroes altogether, and brings others to the forefront. First of all, Gertrude. And not in vain, there were those who jokingly said that the play should have been called “Gertrude”. Ksenia Rappoport gives the role of a lifetime. This is a standard work. Nervous, fiery, uncompromising. A woman wants happiness. In a world where her slavish obedience has become commonplace. Ophelia is not a pathetic, timid sissy. Her stem bends, but does not break; here she may be in tears, but full of will. Of course, I can’t ignore the work of Danila Kozlovsky, and then my life will end, his fans will bombard me and accuse me of simply envying him. Although, I will always love this actor, respect and rejoice at his victories. He plays here honestly, zealously, talentedly, but I don’t see any new colors compared to Lopakhin. This is the same Lopakhin, but in different costumes. There he was left alone in a beautiful garden, destroying his rivals in a wave; here he was just as alone, but on meager ashes. Lopakhin for me was brighter, deeper, albeit less crazy.
The performance will end with the death of everyone and everything. In the extremely electrified air of modern times. Where everything is decided by the number of heads and weapons. In a world where culture is relegated to dusty corners, Islamic terror is associated with Orthodox pressure and emptiness, where conservatives burn liberals and vice versa, where book burning has long become the norm, and the person becomes the unit of exchange. Where 400 years have passed since Hamlet was written, Dodin shows in Once again, what the masters of the past described - flowers. Everything got worse. What seemed to Shakespeare the hell of one became the hell of all. Like a children's game, cells on the stage will open and close, and the heroes of the play will disappear into them. Exactly the same as in our world. Where in the film "St. George's Day" Kirill Serebrennikov, the son of the heroine played by Ksenia Rappoport, walked away from his mother somewhere, in a completely deserted place, and disappeared. He didn't run away, didn't die, wasn't stolen. It simply doesn't exist. He has gone. How, where, is it possible? And it is in such an atmosphere that the question “To be or not to be” is still being decided.
Ps - If you highlight the dry residue - from the point of view of the theater, its fundamentals - this is a masterpiece. But I don’t want a second time. At least 8-10 MDT performances excite me more. I'm not shocked. And for the first time since Portrait of Rain, I didn't experience catharsis.
As part of the Golden Mask festival, Maly's Hamlet drama theater-Theater Europe, which had gathered an unprecedented elite, was completed by Lev Dodin in 2 hours 10 minutes. Ticket prices were record high in the history of the festival (from 15,000 - 40,000).
The idea for Hamlet took a very long time to come up with. As a result, Shakespeare's most famous play was reduced to a short performance. The main role was played by Danila Kozlovsky.
Artist Alexander Borovsky built a metal structure reminiscent of scaffolding covered with white film. “There is no earth here, it has literally disappeared from under our feet. The gaping voids are filled with more and more new troupes, covered with wooden shields. Above mass grave A whole detachment of theater installers worked for the residents of Elsinore, and they even came out to bow.”
And Hamlet only supplies them with raw materials. He will put everyone down so he can be left alone. Hamlet is driven by hatred and vengeance. There is no love in him, not even for Ophelia. Lev Dodin gives his hero an insignificantly small scale, deprives him of torment and torment, and at the same time deprives the audience of hope.
Gertrude - modern woman and the victim of a despot husband, the same democratic force as her beloved Claudius. She was played by Ksenia Rappoport - with short hair, in a black trouser suit, red patent leather shoes, and then in scarlet panties. Then they will show Ophelia’s lace underwear, which Hamlet will throw away after an intimate meeting.
Danila Kozlovsky as Hamlet and Ksenia Rappoport as Gertrude
Hamlet's murdered father was only capable of humiliating and oppressing people, his wife, for whom one can only be glad that with the death of her husband she found freedom and love. Only Hamlet does not understand this. He is a copy of his terrible father. Danila Kozlovsky looks like a modern guy who covers his face with a hood, it’s like protection from whoever is nearby.
When his phrases “To be or not to be” and “Poor Yorick” were heard, the audience laughed. Ophelia, performed by Elizaveta Boyarskaya, is a very strange person, dressed like a kulema. On her chest is a portrait of Hamlet with the inscription “My Prince.” All actors are wearing white T-shirts with prints. You won’t immediately understand whose portrait Hamlet has: either himself, or his deceased ghost father, who is absent on stage. One face, only older. Not only time was reduced, but also significant figures. Igor Ivanov, Sergei Kuryshev and Sergei Kozyrev each played several roles. They are both actors and gravediggers. Polonius here Laertes is Ophelia's father and brother rolled into one, so it can get confusing.
In the Maly Drama performance, a kind of dehumanization of Hamlet was accomplished.
At the St. Petersburg Maly Drama Theatre, the theater of Europe, final preparations are underway for tomorrow's premiere. Lev Dodin has a new Hamlet. He is dressed in jeans, inside there is a Schwartz dragon, and revenge is the meaning of life for him. This is how one of the most significant theater directors of our time presented the Shakespearean hero. The main roles are stars known to both theatergoers and fans of big commercial cinema.
If you want your performance to be considered modern, dress Hamlet in jeans. This director's recipe is already half a century old. But the main innovations are not in clothes, but in the search for new or well-forgotten meanings. Lev Dodin's Hamlet is not “weakness of will with a sense of duty” and not the desire for justice, but revenge embodied.
“The further you move away from it, the more bold you are in this sense, the more liberated, freer and more honest you are in relation to what you do with this work, the more respect and seriousness, it seems to me, for this text and all these issues.” , notes actor Danila Kozlovsky, who plays Hamlet.
Perhaps this is why Danila Kozlovsky pronounces Hamlet’s famous monologues with an ironic tongue twister. Why repeat the textbook “to be or not to be” when life demands something else - “to hit or not to hit”? And how can you make the blow hurt more? He kills Polonius somewhere off stage and doesn't seem to feel any remorse. The idea of revenge turns Hamlet into an obsessed killer who also pursues a practical goal - to regain his crown. Just 30 years ago, such a hero would have been considered negative.
“Every time he answers questions about who is Hamlet today, what is Hamlet today. Therefore, all Hamlets are different. The questions are not a volitional interpretation, but simply because today it is heard that way, that’s how it sounds,” explains artistic director and director of the Maly Drama Theater - Theater of Europe Lev Dodin.
Lev Dodin considers Shakespeare only one of the interpreters ancient legend about Hamlet and gives the heroes new features. Thus, Gertrude is involved in the poisoning of her first husband and hates her son, who is trying to destroy the happiness built on blood.
The director brings the relationship between Gertrude and Claudius out of the alcove and onto the proscenium. The artist Alexander Borovsky dressed the royal couple in red shoes, showing that they are connected not only by passion, but also by crime. Gertrude, performed by Ksenia Rappoport, is more reminiscent of another Shakespearean character - Lady Macbeth.
“If Gertrude had been involved in politics, she would have destroyed the world. This is what we are talking about in the play. There is a wonderful phrase there that violence always leads to violent ends. Everything that begins with violence leads to it,” says People’s Artist of Russia Ksenia Rappoport, who plays the role of Gertrude.
The entire space of the stage is actually a cemetery, where the heroes of this tragedy end up one after another. Oddly enough, there is no Laertes in the play and there is no final duel that the audience is waiting for. But Ophelia is still the same - a thin ray of light in gloomy Elsinore.
“The feeling of the abyss under your feet only increases. She seems to be trying to pull Hamlet out of this abyss, but there is no way back. We meet Hamlet and Ophelia at the point of no return, when their love ceases to be pure, real, reverent, when he is dragged too deeply into this abyss,” says actress Elizaveta Boyarskaya, who plays Ophelia.
By the end of the play, almost all participants in the drama go to the grave. Moreover, Claudius voluntarily drinks poison, answering Hamlet’s question with this act: “To be or not to be?” And the victorious Hamlet turns into a smug ruler. The winner of a dragon becomes a dragon himself.
“Hamlet” in MDT Europe - a composition for the stage by Lev Dodin based on Saxo Grammarian, Raphael Holinshed, William Shakespeare, translated by Boris Pasternak. Starring a star trio: Ksenia Rappoport, Danila Kozlovsky and Elizaveta Boyarskaya. Our correspondent Ekaterina Balueva will tell you more about the production.
Life"s but a walking shadow, a poor player
That struts and frets his hour upon the stage
And then is heard no more. It is a tale
Told by an idiot, full of sound and fury,
Signifying nothing.
"Macbeth"
Lev Dodin, constructing his Hamlet, uses Shakespeare's play as one of the sources. The program also includes Saxo Grammaticus, who in The Acts of the Danes praises Hamlet for his unbearable cruelty: the prince not only deals with the prototypes of Polonius, Rosencrantz and Guildenstern, but also stabs the king and burns the castle guests alive. Also mentioned is Raphael Holinshed, whose Chronicles of England, Scotland and Ireland served as the basis for the tragedies Richard III, King Lear and Macbeth.
Artist Alexander Borovsky hides the Elsinore model prison in scaffolding. The characters move freely along the stage frame, freeze on the stairs, go down into auditorium, go out into the foyer. Throughout the play, the prince methodically places his loved ones in their graves. The action is reminiscent of an outlandish game of chess with a death knight: the piece is swept away, the cage is nailed down, the military march of the gravediggers and the sound of their hammers are sickeningly disgusting. Victims fly from a great height, die with a roar, the dead become the foundation of the future state.... Behind the walls of Elsinore there is another world, which sometimes penetrates into the castle with random splashes of the sun and Schnittke's piercing music. There is a choice - leave or stay. But it is impossible to pause the obsession with power. Hamlet (Danila Kozlovsky) was possessed by the spirit of his father. The idea of the black cloud seizing the throne lives in his head. This Hamlet finally switched to dark side and grew a long, sinister shadow of Macbeth. The main monologue is “swallowed”: the prince does not think, he acts. The capital's tragedians Horatio, Marcellus, Bernardo, brilliantly played by Sergei Kuryshev, Igor Ivanov and Sergei Kozyrev, echo the images of the three witches. The rest of the characters, comfortably seated in the orchestra seats, are preparing to watch a good, classic performance, but instead receive modern play about my own nightmares.
Gertrude (Ksenia Rappoport) - the devil is in the details. A graceful predator with drops of red polish on her nails - “this lady has not forgotten her bloody throat.” At first she looks more like Hamlet's sister: the queen is young and energetic, she has a boyish haircut and a man's suit. Gertrude dances tango with her own son a little more passionately than is acceptable. But Ksenia Rappoport deliberately mutes the colors of her heroine, takes her into the darkness - Prince Hamlet should still remain in the foreground... She needs Claudius (Igor Chernevich) with a soft, weak-willed mouth for love, not for war. Tandem strong woman and a weak man - another sign of the times. Claudius has the inscription “I’m the king” on his T-shirt - probably so that he doesn’t forget about his high position. All the characters, except for the experienced courtier Polonius (Stanislav Nikolsky), who carefully disguises his sympathies, have portraits on their T-shirts as banners, as if the heroes have a glass inside, and we see what (or rather, who) is in their hearts.
Ophelia of Elizaveta Boyarskaya is not at all like the gentle, weightless nymph, whose image is woven using the sfumato technique. She is the main "fan" of Prince Hamlet. This Ophelia is a match for Hamlet. A faithful friend, comrade-in-arms, accomplice. She acts using feminine methods. When the prince does not pay attention to her, he leaves, snapping his fingers furiously: she already knows her next move. A lacy “news” flies to Hamlet - the prince catches this spoon and instantly disappears under the stage... The lovers most of all resemble the newly married Macbeths. And they get rid of Ophelia - as a competitor capable of producing another contender for the throne...
“Hamlet” by Lev Dodin is a black and white movie, the frames of which sometimes bleed: scarlet patches in the costumes of Horatio, Marcellus and Bernardo; the red shoes of Gertrude and Claudius - eternal evidence indicating that the path to power was ankle-deep in blood.
Hamlet is a mad flute player who decides to rid the kingdom of rats. But bad luck: the last of them will be himself... The mousetrap will slam shut. The flute will turn first into Yorick's spine, and then into the weapon butt. The prince will perform his last dance on the lids of the coffins, and playfully, with the ease of a Broadway musical performer, he himself will descend into the underworld. In the finale, only the tragedians and a huge plasma screen will remain, on which the speech of the new ruler is broadcast. Fortinbras will be brief: he will colorlessly count the number of dead and take responsibility for himself.
You leave MDT, and a long trail of questions stretches out... Can Hamlet be anyone? Is it enough star status and cold cinematic masculinity in order to play main role? Why are Hamlets today being reborn as Macbeths? Behind this metamorphosis one can sense the author’s pessimism: art is not capable of changing people, just as it cannot cure a person of loneliness. But the image of Hamlet, thrown off his humanistic pedestal, becomes no more voluminous than a print on a black sweatshirt, and its depth and complexity simply turn into words, words, words...
