Stage version (2h50m) 18+

Stendhal
Director: Yuri Eremin
Julien Sorel: Denis Balandin, Pyotr Krasilov
Madame Renal: Nelly Uvarova
Matilda: Anna Kovaleva
Male: Alexey Blokhin
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Review of "Afisha":

Director Yuri Eremin, who himself wrote a play based on the novel, literally thickens the colors, discarding halftones and focusing on the colors stated in the title. The visual solution of the performance, based on the themes of the paintings by artist Kazimir Malevich “Red Square” and “Black Square”, is also based on the principle of sharp color contrast and includes elements of a kind of graphic constructivism. That is why right angles predominate in the costumes, and the main detail of the set becomes a glass plate located in the center of the wall, which gradually turns red during the first act, and black during the second. Accordingly, a prominent place in the play is occupied by such character, like the artist Male (Anton Shagin), who paints this “canvas” and at the same time represents a kind of second “I” of the main character. Every now and then he comments on the action, “suggesting” certain actions, and at the same time sprinkles quotes borrowed from world sources of literary and philosophical thought. He also sets a clear emotional tone for each action: “red color is a symbol of passion”, “the main meaning of black is death.” In accordance with this attitude, the costumes of the characters are also modified: as the characters are consumed by passion, white flows into red, when death creeps up on them, red is steadily swallowed up by black. Such frank asceticism in the selection of external colors directly correlates with both the choice of themes and the choice of characters.

Of the entire palette of the multi-layered novel, the play's author and director, by and large, singles out only the love story of Julien Sorel and Madame Renal, which, of course, has both its pros and cons. All other plot and thematic layers are adapted as much as possible and turn out to be only auxiliary touches accompanying the main action. Even the episodes telling about the mutual infatuation of Julien and Mathilde de la Mole are solved primarily in a grotesque comedic manner. But the duet of the main characters is filled with true drama and depth of feelings. Exactly true love makes the energetically ambitious young man Julien Sorel - Denis Balandin (this role is also played by Pyotr Krasilov), initially striving with all his might for self-affirmation and painfully defending his human dignity, to realize that the main thing in his life is the all-consuming feeling that he experienced for Madame Renal . The restrainedly strict heroine Nelly Uvarova herself, throwing herself into this love like a whirlpool, experiences a painful struggle between feelings 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.

The Russian Academic Youth Theater (RAMT) is preparing a magnificent performance for its devoted audience - “Red and Black”. The production was created based on Stendhal's work of art. The direction of the performance was carried out under the direction of Yuri Eremin, and the main roles were played by Nelly Uvarova and Pyotr Krasilov. An unexpectedly interesting and new interpretation of the novel, shown through the prism of Kazimir Malevich’s paintings, amazes with the freshness of the theatrical concept. Hurry up buy tickets to RAMT to the wonderful production of “Red and Black”.

Two different poles - two different lives

Stendhal's famous novel was based on real story, which tells the story of a young ambitious provincial guy and his fate. The interesting directorial approach of the genius of RAMT - Yuri Eremin - brought some peculiarity to the narrative. Thus, in the play a chess game was played between red and black. These colors symbolize the red officer's uniform and the black of the monk's cassock, the struggle of love and death, the confrontation between life and mourning, eternal crime and punishment, all-consuming fire and darkness... Life has never been so similar to casino roulette! In the play, the main characters of the novel are pawns in the hands of the most powerful and powerful elements of this two-color scale, associated with the famous works of the artist Malevich - “Red Square” and “Black Square”. Gives a special flavor new character, called Male, who is given the important job of carefully painting the central window in the form of a square with red and then black paints. While doing this, Male utters thoughtful, full of philosophical meaning, aphorisms of the greatest thinkers and poets.

The performance can be called a work in combination of incompatible things. So, it is quite difficult to combine two ideas - Stendhal's and Casimir's. Both creators interpret these two colors completely differently:

Stendhal considers red to be a symbol of passion and life, and black of death and mourning; Malevich paints the “Red Square”, symbolizing color, the “Black Square” - its absence.

In order to evaluate the idea and uniqueness of the production you need order tickets for play "Red and Black" in our company.

Team RAMT tried to convey and convey all the uniqueness and scale of his modern project theatrical arts. Order tickets for the performance "Red and Black" accepted at any convenient time. At the same time, buy tickets at RAMT for the play “Red and Black” possible at the lowest prices.

IN play "Red and Black" famous director Yuri Eremin used unexpected visual images, turning to the work of Kazimir Malevich. All the characters in 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 is play "Red and Black" does not contradict Stendhal: red remains the color of passion, love and affirmation of life, black - the color of crime, sin and death.

Performance "Red and Black" plays out like a chess game with red and black pieces. Color accents are clearly expressed in Victoria Sevryukova’s costumes, 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. For the entire 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 voices the internal monologues of the main characters.

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

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

As 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 from Renal’s house, and soon he becomes the secretary of the Marquis de La Mole (Alexei Maslov).

Julien wants with all his might to be closer to the world of the aristocracy, in which he could realize his ambitious intentions. And the best way turns out to be a wedding with the marquis’s daughter Matilda (Anna Kovaleva).

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

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

Original scenography, director's ideas and deep acting make play "Red and Black" one of the most interesting productions on the stage of the Youth Theater. Famous novel Stendhal appears in a new reading that will be of interest to the widest range of viewers.

Tickets for play "Red and Black" Theater fans can purchase tickets on the TicketService website at any time.

Kommersant, October 21, 2008

Stendhal after Malevich

"Red and Black" at the Youth Theater

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

Stendhal's novel, written on the basis of the real story of a young ambitious provincial, which the writer learned about from newspapers, was played by Yuri Eremin 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 connect with the works of Kazimir Malevich - “Red” and “Black Square”. The performance even introduces a special character named Male, who, as the action progresses, diligently covers up the square window in the center of the stage, first with red and then with black paint, uttering thoughtful aphorisms of great thinkers and poets in between. But comparing Stendhal with Malevich is the same as comparing War and Peace with War of the Worlds on the basis that they sound similar. In the play, the colors included in the title of the novel are interpreted quite traditionally, in Stendhal's style: red is a symbol of passion and life, black - 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 as its absence.

But without going into the subtleties of art history, we must admit that the technique found benefits the performance. An appeal to the art of the 20th century sets the production certain tone and deprives it of the old-fashioned decorativeness usual for costume drama. Victoria Sevryukova's costumes, conventionally stylized according to the fashion of the 19th century, wittily play off the director's intention: with each scene, more and more red details appear in the characters' outfits, which initially have the color of a blank canvas, and in the second act - black details.

The set design by Valery Fomin - a gray wall with doors and retractable podiums - is laconic and functional. It does not illustrate the luxury of fashionable Parisian interiors, but organizes the space of the performance. The movement of the actors on the stage is somewhat reminiscent of the movement of chess pieces: two steps forward, one sideways, a knight move, castling - this is how Julien Sorel plays the game of his fate, sacrificing unnecessary pieces in order to break into the queens.

But the geometric clarity of the mise-en-scène in no way detracts from the acting. Minor characters are outlined with two or three light strokes, without unnecessary pressure and with a dose of humor that sets off the emotional fervor 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 a provincial insecure, painfully ambitious and scrupulous in matters of honor. But whether he loves his noble patronesses or only uses them to satisfy vanity and advance to the upper levels of society is difficult to determine from the actor’s performance. But the feelings of Madame Renal, performed by Nelly Uvarova, are clearly visible.

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 a magnificent image in the play adult woman, passionate and sensual, going crazy with love. Ms. Uvarova works with unusual detail by today's standards and plays out every nuance of her emotionally charged role. And the audience of the Youth Theater will certainly appreciate the love scenes with her participation more than the moralizing maxims of Mr. Male.

Novaya Gazeta, October 24, 2008

Alexandra Akchurina

Emphasis on red

The Russian Academic Youth Theater hosted the long-awaited premiere - “Red and Black” directed by Yuri Eremin

The director took on Stendhal's classic novel and light hand removed many minor episodes, and “ingeniously” divided the text itself 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 torn out fragments, the images of the characters, as well as the general idea of ​​the novel, remained unfinished. Eremin made a simple play about love, while Stendhal wrote an unsurpassed psychologically a book about ambition and ambition that consumes a person. The main merit of the director is that he worked masterfully with the performers: the images offered to the actors were played flawlessly.

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

The only person who experiences 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 (it is not out of religious fears that she writes a libelous letter to ex-lover), but sincere. In her earthly, non-Christian love, there is even some kind of greatness and charm. Uvarova plays the tragedy of Nelly’s mother extremely convincingly, although unforgivably little is said about her in the play.

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

The main character, Julien Sorel, is played by one of the “stars” of RAMT, Petr Krasilov. This image is an attempt to go beyond the role of naive and noble young men whom Krasilov has played so far (Erast Fandorin, Petya Trofimov in The Cherry Orchard, Robert in Cruel Dances). In Sorel, Krasilov discovers dark sides, but sometimes it goes overboard. In his Julien, perhaps, the balance is upset: there is a lot of rigidity and less feeling than required. There is very little insulted dignity and fiery love for Napoleon Bonaparte in him, but in Stendhal this is the most important emotion that the hero experiences. In the play, the image of Sorel is described worst of all, if only because many of his episodes were cut out of the plot. life path. Thus, in the play there is almost not a word about Sorel’s past (only his low origin is mentioned several times), the period of his studies at the seminary and other fragments necessary for understanding the character are missing.

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 love drama The actors sometimes play a farce, which does not fit into the overall line of the play.

However, despite all the reservations, the performance, which surprises with the director’s interpretation, is enjoyable in one go, primarily due to the excellent acting.

It is impossible not to mention Eremin’s very successful move - the image of the artist Male, invisible to the heroes present on the stage throughout the entire action. He quotes Byron, Montaigne, Napoleon, Goethe and Schopenhauer, talks about flowers, love and death, voices the internal monologues of the characters and perfectly ties together the poorly put together composition of the play. Male plays the roles of narrator, witness, sympathizer, and prompter. In the play this is perhaps the brightest and living figure, although it accompanies all the action in the background.

The emphasis in the play is placed on red not only figuratively, but also in the literal sense - in color scheme costumes of the heroes (author Victoria Sevryukova). At the beginning of the action, all the characters are dressed in monochromatic light suits and resemble colorless canvases. With Sorel's arrival at the Renales' house, red trim appears in the outfits, the maid rolls out the red carpet, fluffs up scarlet pillows, and Male writes red patterns on a colorless square in the center of the decoration. The set design (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 stage by several cardboard frames, symbolizing the external cascade of chic secular society(here they have fun), the Renal house - with two doors and beds (they love here), the La Moley house - with a desk with an inkwell and papers (here they make a career), the prison cell - with a hole in the window opening (here they die).

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 the heroes, even those facing a death sentence.

Yuri Eremin's productions are always distinguished by their solid, logically verified construction, and they always lack some subtlety and grace high art. They seem to be textbook sleek for the needs of a schoolchild - classics in excerpts and fragments. His performances are good for composing general idea about anything. In “Red and Black” you can glean information about love, and about Stendhal, and about the life of young people dreaming of breaking out of the lower classes, 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 imbue the production with details, thoughts and ideas, without which it would not be viable.