Translation. Region: Russian Federation –
Source: Moscow Government – Moscow Government –
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Russian classics continue to reveal new sides to audiences on Moscow stages. One such experiment was the play Dubrovsky, which premiered in early March in Pokrovka TheaterThe production is based on Alexander Pushkin's novel—the familiar story of the young nobleman Vladimir Dubrovsky, who, after the death of his father, is deprived of his family estate, becomes the leader of noble bandits, and falls in love with the daughter of his enemy.
The new performance will keep you entertained thanks to its dynamic tempo, modern beats combined with Russian folk melodies, and an electronic scoreboard indicating the time and location of the performance.
What lies behind the lines of classic literature, how the characters resemble today's youth, and what interesting discoveries the director of the capital's theater employs—all in this mos.ru article.
Duality and denial of reality
Sergei Poselsky, the director of the play "Dubrovsky," admits that he tried to convey the duality of the characters and actions of the main characters, Masha and Dubrovsky. It was important for him to find a theatrical equivalent to Pushkin's multifaceted world.
"The actors' behavior remained unclear for a long time. We spent about two weeks working through this with Guram Kvitsinia, who plays Dubrovsky, and Varvara Nasibulina (Masha). The guys couldn't wrap their heads around the idea that Dubrovsky had settled in Troekurov's estate for three weeks, disguised as a Frenchman, simply to be with his beloved. To achieve this, the character bought all of his documents from the French tutor for 10,000 rubles—around 14 million rubles at today's exchange rate. He doesn't even propose marriage, because a man who has taken the path of a robber can't promise a future," says Sergei Poselsky.
During rehearsals, the actors and director suddenly realized that Masha and Vladimir were somewhat similar to cosplayers (people who recreate characters from books, films, and games). Vladimir cosplays as a robber from an 18th-century novel, rejecting the realism of adults and playing a role in a world of his own creation. Masha, raised on French novels, is unaware of the realities of life. It becomes clear what brought the two young people together: they live—and play—by their own, imaginary rules.
"Why did Masha initially agree to marry the elderly Prince Vereisky and refuse the young Dubrovsky? To answer this, one must carefully read Pushkin's work. The character of Vereisky is ambiguous. The author describes his estate as a paradise with clean, well-built peasant huts. He shows the girl originals of famous paintings and captivates her with stories. Masha interacts with him as if he were an old acquaintance. In other words, Vereisky achieves what Dubrovsky failed to do—he captivates and surprises. And what's more, the former is a reflection of the writer in his mature years, while the latter is a reflection of Pushkin as a lyceum student," the director explains.
The rejection of reality inherent in fantastic realism also distinguishes the world in which the characters live. For example, in the novel, Kirila Troekurov's estate is vast, extending across several provinces, and the landowner's power is virtually unlimited.
Freedom and the path to adulthood
According to the director, it was no coincidence that he chose Pushkin's unfinished novel for the production. After all, "Dubrovsky" is in many ways connected to the story of Pugachev's rebellion and the novella "The Captain's Daughter." The author explores the dual philosophy of freedom: where it begins and where it ends, and what and how one must pay for it.
"In the novel and in the production, we constantly hear this key word. 'You are free,' Dubrovsky says to Masha after her wedding, and he says the same to his men when he disbands the gang. The final line of the novel sums it up: 'The roads have become free,'" the director notes.
Sergei Poselsky transforms the play into a legend about a romantic hero. Young people will be interested in comparing the worldview of Pushkin's characters with their own. For example, 17-year-old Masha and 19-year-old Vladimir were raised on novels in which valor and honor triumph, but in real life they encounter the cruel world of adults—this is the eternal story of fathers and sons. The theme of forced marriage, while seemingly a thing of the past, is still far more relevant today than it seems at first glance.
The director once again suggests a careful reading of the novel: Masha is the first to propose to Dubrovsky and promises to send him a ring. But in the end, she does nothing to break up the supposedly hateful marriage. Only before the wedding does she write a letter to Vereisky asking him to abandon her, but he refuses.
"This story isn't about a forced marriage, but rather about the coming-of-age of a 17-year-old girl who doesn't yet fully understand the gravity of what's happening and isn't ready for family life," explains Sergei Poselsky.
It turns out that the heroine, having read too many novels, dreamed of princes. Dubrovsky initially inspired Masha, but marriage to him was completely out of the question: she wouldn't live with a robber in the forest and sleep on the ground, covered with hay! The director's idea is clearly evident in the play: Masha is essentially still a teenager, emotional and impulsive, constantly on the move. Sometimes she laughs, sometimes she cries, and is sometimes capricious. Dubrovsky is the complete opposite, as life forced him to grow up quickly.
According to actor Guram Kvitsinia, who plays Vladimir Dubrovsky, young audiences will relate to the hero's youthful maximalism, who acts on the call of his heart rather than practicality. He reacts sharply to insults and defends boundaries. The actor, who teaches at the Boris Shchukin Theatre Institute and interacts frequently with students, believes that romantic spirit is quite characteristic of today's youth.
"I'm 31 years old, and I'm playing a 19-year-old, so to understand my character, I first and foremost think back to myself at that age. In high school, I had a tragic love affair. I was friends with a classmate I was in love with, and I wanted to be with her constantly. But I didn't have the courage to confess my feelings," Guram Kvitsinia smiles.
A classic in a new way
The creators of the play sought to make the classics more accessible and relatable to a younger audience. For example, the actors themselves actively participated in the selection of the music.
"We have two layers of music: Troekurov's world, featuring authentic, profound Russian folk songs, and Dubrovsky and Masha's world, featuring European melodies from the 18th and 19th centuries. There's also a contemporary beat, which the characters dance to. We use nearly 40 compositions in the production," notes Sergei Poselsky.
The set design by Golden Mask Award-winning production designer Viktor Shilkrot is also intriguing. The setting is a cross between a kennel and a bear cage. This recurring character appears throughout the play. The audience will see for themselves what the bear looks like. An electronic scoreboard helps navigate the plot, flashing clues like "Long ago" or "At a party."
But of course, the play "Dubrovsky" isn't just for schoolchildren and young people. Pokrovka Theatre Artistic Director Dmitry Bikbaev is confident that classics are always in fashion.
"Classics always remain relevant and engaging for audiences of all ages. You can confidently come to our theater with both parents and children. We actively utilize modern multimedia technologies. For example, in the play "Moscow. Twilight," this is especially noticeable: it features mapping, screens, and projections. We don't turn classics into museum pieces; on the contrary, we strive to make them vibrant and contemporary. At the same time, all the stage technologies work toward the most important goal—enhancing the performance experience," notes Dmitry Bikbaev.
The next screenings will be on April 22 and 23. Tickets can be purchased through the service Mosbilet.
The program of events at the Pokrovka Theatre contributes to the implementation of the goals and objectives of the national project in Moscow. "Family"More information about Russia's national projects and the capital's contribution can be found at special page.
Mosbilet invites you to Dubrovsky and an art exhibition at the Pokrovka Theatre."Everything must be fair, and everything must be done out of love." Dmitry Bikbaev on the theater of sensations1990s hits, sound drama, and young romantics. How the play "In Silence" works.Spring Theatre Symphony. Selecting performances with Mosbilet
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Please note: This information is raw content obtained directly from the source. It represents an accurate account of the source's assertions and does not necessarily reflect the position of MIL-OSI or its clients.
