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FOREIGN DIRECTOR'S INVESTIGATIONS IN FORMING COMPETITION (ON THE BASIS B. ABDURAZZAKOV'S PERFORMANCE "CLASSMATES. LIFE LESSONS")
Kosherbaev N.
2 year Master's degree student T.Zhurgenov Kazakh National Academy of Arts
Yerkebay A.
associated Professor, candidate of art history T. Zhurgenov Kazakh national Academy of Arts, Almaty, Kazakhstan
ABSTRACT
In this article, the author investigates some theater current trends in Kazakhstan, and identify the search for Directors in mastering modern topics. In addition, one of the best for several seasons was B. Abdurazzakov's "Classmates. Life Lessons" actor's and Director's deeply analysis and decisions about the performance, will be relevant issues at the end of the General topic interpretation.
Keywords: Directing, actor play, theatre, dramaturgy, B.Abdurazzakov.
Introduction
The stage of modern drama for any theater group demonstrates not only the research, but also the possibilities of the theater. Every year, most of the country's theaters take part in the repertoire of works by contemporary authors. Various trends appear in the interpretation of these works, and the theatrical process is enriched. This, in turn, concerns not only the variety of performances forms and genres, but also changes in the content, the emergence of topical productions on family issues that illuminate global worlds. One of these performances is T.Slobodzianeks' "Classmates. Life Lessons" at the B. Omarova's "Zhas Sakhna" theatre is included in the repertoire.
In June 1941, residents of the town of Edvabne in Poland set fire to hundreds of Jews who grew up and studied with them, lived in the neighborhood and played together. After the war, there were legal cases, and everything went wrong, the truth did not remain hidden. Based on these events, playwright Tadeusz Slobodzianek performed the song "Odnoklassniki. History in the XIV lessons" published a play. It was first staged in Israel at the Gabima Theater, one year later at the National Theater in London, and in 2010 at the Theater on Vale in Warsaw. In the same year, Nikke was awarded the largest literary prize in Poland. And five years later, in our country, Tajik director Barzu Abdurazzakov has presented to a wide audience a performance "Odnoklassniki. Lessons of life".
Main Part
Poles and Jews who attended the same class together, at each lesson, we saw that they had a versatile disclosure of character and a gap from each other, respectively, all those classes would continue, the problems became more complicated. In the center of the small stage were ten chairs set in succession, as if waiting for their owner, and on the edge was an old piano. In addition, we did not see any decorations, everything was done conditionally, chairs turn into a Desk, house and transport. The stage space, where silence reigns, disturbed by the voice of children making noise. They brought with them the atmosphere of childhood and school. Children who couldn't argue and worry with
each other suddenly told each other about what professions they wanted to become a master. This was how the first lesson began. One of them-a teacher, one of the doctors, a pilot, a tailor, even children who aspired to be a movie actress, saw themselves only around that town. That lesson of life was filled with hope, hope and faith in the future.
"Classmates. Life Lessons"
The second lesson showed that the children's first feelings were awakened. Polish guy Rysek (V. Kupriyanov) wrote a letter to the most beautiful daughter in the class Dora (N. Alpysbayeva) and sent heartfelt poems. However, no one knew how these feelings would end, the beginning of which began sweetly. And in the third scene, they began to realize that they did not look like each other, that each was Polish and Jewish. The Jewish guy Abram (M. Sarybay) also said that he would like to study in America on the stage, and nowadays one person will have an aggravated class, and in subsequent classes they would openly demonstrate differences with each other.
Then a small concert was organized on the stage dedicated to the opening of the cinema "Aurora", where V. Mayakovsky's poem "Good attitude to horses" would be read by Zoska (A.Oryntai) in the image of a horse symbolizes Poland and emphasizes how many difficulties, no matter how many, but the knight in the open "Down with the zhidokommunu! Long live Poland!" leave the stage. Actress A. Oryntay tried to convey her love for her soul to her native people as reliably as possible. And the Rysek's role played an actor V. Kupriyanov we can see a change in the psychology of the character, an assessment of what was happening. After such events, the Poles openly demonstrate that they have begun to defend themselves.
In the sixth scene, the boys began to take important steps in their life, and Abram informed them that in his letter he got married, Zoska got married, and Dora was married to the Jewish Menachem (B. Baiserke), who was a dream of all girls, not Lynx. Four Polish Knights, Zygmunt (V. Izimov), Vladek (A. Akhmetov) and Henek (N. Kuanyshbayuly) in the class were trying to create a hidden organization and defend their interests. Thus, many Poles tried to get rid of the
Jews and acted well, first of all, in order to implement it with the arrival of the Germans.
From the seventh scene, the performance becomes more complicated. Yakub Katz (D. Aripov), who was informed by Menachem about the pressure on the Jews, did not run anywhere and did not run to death. I didn't suspect anything, because he was clean in front of himself, in front of his classmates, but Knyazek, Sigmund, Vladek, and Henek didn't think so. Katz believed that they were indicated and wrote a statement. On the street where I met the class leader Yakub Katz, they beat him without sparing, he broke the gate boards and alternately hit Yakub, unable to stand the place, hit with his nails, tried to damage the ground and move. Noticing this, Rysek throws a stone at the head of a classmate in ten-fifteen kg, Katz, whose brain was scattered at the entrance to his house, thus said goodbye to life. Actor D. Aripov very subtly brought the inner wave of the character, kept the character's role and features from the beginning to the end of the performance. This is an exception - to yield, but only forward, to strive for the best. This is what shows that the Actor has repeatedly sought a place on the last stage, but with difficulty and carefree singing, when he happily stretched out on his feet. And the actor who played the Men-achem's role showed that the conductor loves himself more harshly than a woman, and even a child. This indicates that its scenes that want to show themselves.
It was on this stage that Abram was sent a letter from America, where he wrote that he was the victim of the very first in his life, and only then was a real Jew, and the Poles, escaped into slavery as a Jew, left the impression that he was a real Polish. In their opinion, it was the only way to preserve the integrity of the nation. The actors, who clearly understood the stage of the task issued by the Director B. Abbruzzakov, passed the big exam in this view. All the events that were happening were done very rationally, because all the events that were happening in themselves, and then you feel, do not give in to noise, and in some cases only by facial expressions.
Rysek, Sigmund, Henek, seeking the next victim, went to Menahem's house, but they saw that in the house was only his wife, Dora, and their son. Initially, they did not touch Dora, but theywere interested after looking at a beautiful woman's legs and neck in a robe only to be raped after she had a look at them. All three together realized their intentions. Since childhood, Rysek fell in love with a Jewish daughter, studied together with him and Sigmund, and despite the fact that Dora was not huge, Henek, who saw everything, thus committed another crime. The director also invented memorable scenes on this stage. The three actors looked at the audience and conditionally showed that they were performing their own actions with the help of one hand. Although the actions of the characters could make the person feel disgusted, the actions performed by the director's work, in fact, an artistic one that has been found to be very effective for the theater.
On the next scene, N. Alpysbayeva, who played Dora's role, hugging her child, burned along with thousands of Jews. "And is this my whole life?" when I asked if we really have a plan for the future, I think this is the first beauty of the class who dreams of becoming an actress. Actress N. Alpysbayeva deeply understood the heros' inner psychology, expressing the "picture" of these events, assured the audience. But, despite the
fact that she is dying, she showed the image of a person who wants to live.
In the same ninth scene of the play, the director wanted to show who could step in for his love. Despite being ordered to kill all the Jews, Vladek saved his beloved from his childhood Jewish girl, Rakhelka (J. Sergazina) and hid her in his house, and Zoska hid Menahem from the government punishers, who had been dreaming of all the girls, in her backyard. Thus, the two Poles survived because of the love they had for the two Jews, who had become enemies of the people at that time and because they wanted to survive, even if they did not live with them.
In the tenth lesson, Poles revealed their true colors more real. All Vladek and Rakhelka's classmates came to the wedding party, Rysek, Sigmund, Henek, Zoska, and Yakub, Kats and Dora, were watching for their life's passing, also Abram and Menahem in America who's heard from Zoska, all of them were atbthe stage. When the newlyweds began to get gifts, poles demonstrated silver products and gave them to just married couples, then the Jews "Whose?", "My", "God!", "Your mother!"say replicas, then Vladek said "Thank You!"and Rachelka said "Beautiful!" resumed. Among the Jews arose a question "Whose?". When these questions found their answers, the word sounded like a note of orchestra musicians performing a Symphony. "Conductor" B. Abdurazzakov carefully made sure that each note was not repeated. On this stage, the actors D. Aripov, N. Alpysbayeva, M. Sarybay, etc. asked one question, one was the Respondent, not only through replicas, but also with facial expressions, as they created a picture of one artist.
In the next scene, Rysek, who tried to kill Rakhelka, fears that he would be dissatisfied or would tell the story of how much Jewish blood he had to death, at the hands of his close friend Vladek. As a result, the class lost another student. The author has again made a choice for the heroes, whether it's love, or a friend who is cruel, a crumbling homeland, or even an injustice. We have to compare again, the decision that Rysek could not make, Vladek did. In addition, after everything calms down, Rachelka managed to convince that the war is over, and now she did not keep it, can voluntarily leave. Once hearing about the wedding, Rachel, who did not hide her admiration, understood that after this event, she did not regret the choice. And Zoska did not regret that he saved Menachem, but in the twelfth lesson Zoska forced to go to America because of how many of them tried to create a happy family.
For the entire class, Abram's letters from a distant continent, where both poles and Jews wanted to live, played an important role. All the letters with Abram, when they come out to the world, were crammed into America, where all the classmates were not filled with dreams. For others, it was just a dream, for Zosya it was an opportunity to just find a soul and start a new life. Director B.Abdurazzakov especially decorated all the scenes that during the receiving a letter from Abram, when he began to read the head of the letter by one of the characters on the stage, from the audience ran M. Sarybay who played Abram's role. Every time I came to the America's atmosphere. This is also one of the most Director's rational decisions.
Not only the Polish daughter who started a new life, but also Menachem, who remained in Poland on the thirteenth stage, begins to deal with the case of those who in the first years of the war killed Jews innocently.
In the course of investigating their classmates, Sigmund, Henek and the owners became convinced that they had killed Jakub Katz, Dora and Son, and thousands of other Jews. Over the course of several years, gaining revenge and anger, Menachem was unable to withstand himself, captured the scream, three in turn under attack. Actor B.Bayserik aspired to the real manifestation of the character that arose in the hero's inner soul of the conductor, realizing that everything that happens on the stage is not an attempt, but the result of skill in the embodiment of images.
Fun and painless lesson began. Over the course of thirteen sessions, events such as changes in the characters' lives are nearing their end. The aggression that took place on the stage at the moment of opening the face of truth, from the hatred Jews to poles, leads to the last and decisive lessons.
In the fourteenth presentation, ten students take their turn and report from the date of birth to the day of death. In addition, each of them says that the dreams expressed in the first lesson were not fulfilled, will tell about what fates occurred after this event, where, from what to death. Here the Director B. Abdurazzakov reduced the network of events, and only reported, rationally solving the last scene. As a result, we can see that the performance is not only simplified,but also its dramatic scene is growing.
Conclusion
The performance caused a resonance in the theater world in 2015 and caused a lot of controversy in the society. Famous theater critic Saniya Kabdiyeva in the Republican Theatrical Literary and Artistic Magazine "Theater.kz" in an article titled: "Life Lessons" "Od-noklassniki" has mentioned the next: "B. Abdurazza-kov's performance raises the main society problems in fact, the class which we see in the play is a humanity portrait, officially asserting tolerance and political correctness, and in real life exploding wars based on religious, racial intolerance, nationalism and ordinary ha-tred"[1. P. 33]". Indeed, the play is about human morality. At the same time, both the author and the Director, who became the goal to show history, to show the interests of one nation, and not the remorse of one nation. The horrific tensions between the Jews and the Poles do not leave anyone indifferent, however, both the author and the director aim to show the story, to show the gentle world of human destiny, not in the interests of one nation or to repent of one nation. . No one knows that classmates at one party and their seemingly unbelievable close friends will go on their way from year to year, ending in enemieships, violence, and murder. Russian correspondent Yana Chichina in her article has emphasized "Children's question", "Why?" it doesn't stop appearing during characters' life. Why did the lives of these young people change, some being appointed victims and others as executioners? In the final scene, the characters ask this question quietly, in a whisper. But this barely audible question, after all the experience in the play, is deafening, like thundef', [2. P. 38] has noted the importance of the last scene.
In addition, the director paid close attention to the opening of each character as an individual, and as a result, the result of the acting game gave birth to different
characters. "The actor is self-appointed characters have drawn by themselves, and in due time, without the direction of the director, may be able to complete the scenic figure in the field of a half-life spectacle", says a prominent teacher, theater theorist, director A. Popov [3. P.316]. When each actor works in his own way in the performance, the fullness, the set-up of the ensemble is obvious. Realizing this, director Abdurazzakov sought to make the characters as open as possible and to the fullest extent possible the actors taking into account the peculiarities of the video production. The director skillfully demonstrated the characters', actors' growth and the complexity of the events from the first stage of the performance to the last. The play's performance during this period, as thousands of refugees leave their homeland and seek refuge in Europe, is a response to the director, actors and theater's instability in the world. Through the play, we have seen that it is easy to get an inter-ethnic conflict from a small matter. Therefore, this production has become one of the most modern performances to date.
Marina Dmitrevskaya, a theatre critic, took part in several festivals and mentioned about the performance, which received a positive assessment from theater critics "The fact that the story about poles and Jews is played by the Kazakhs of the "former USSR" with their "slanting and greedy eyes", with Asian grace and childish naivety, gives the story a third dimension. And this is what is striking: there are four young Kazakhs and you believe that they are Jews" [4. P. 78]; also famous theatre critic Eugenia Tropps' opinion that "Kazakh actors-beautiful, extraordinarily alive, with clean bright faces, clearly broadcast their own horror of what they discovered in their heroes to the audience", [5. P. 68].
Various novelties, including genres and forms, appear in the modern theatrical process. Unfortunately, due to the fact that most young Directors pay attention to the external form of the play, their artistic level is reduced, and after several seasons they are removed from the theater's repertoire. Theater Directors who support traditional theater art and have extensive experience in the theater field do not master the above-mentioned trends, but show performances that can be performed in foreign theater festivals. We are sure that the Directors of this silver performance believe that this is the second problem that arises in the world process, only if they attach importance to the structure and importance of the production.
References
1. S. Kabdieva Life's Lessons "Odnoklassniki"// Theatre.kz. - 2015. - #7
2. Y. Chichina Friend or Enemy. "Odnoklassniki"//Theatrical city- 2016. - #12
3. A.D. Popov. Performance Artistic integrity. -M.: 1979. - p.519.
4. M. Dmitrevskaya. Inescapability // Petersburg theater magazine. - 2015. - #82
5. E. Tropp. But Love is more than // Petersburg theater magazine. - 2015. - #82
