Russian Beauty

Perfomance, 18+ 1:50, No intermissions
june 16, Sun
Chamber stage
19:00
The no­vel “Rus­si­an Be­auty” was writ­ten by Vic­tor Ero­fe­ev in the ear­ly 80s and was on­ly pub­li­shed 10 years la­ter; it tur­ned out to be too ra­dical for Rus­si­an so­ci­ety. Iri­na Ta­raka­nova, per­formed by Eka­teri­na Steb­li­na from the “Stu­dio Se­ven“, we­ars a scar­let dress, sings in Por­tu­gu­ese with the ac­compa­niment of a mys­te­ri­ous Car­los (who rep­re­sents a crow be­hind the win­dow or, ma­ybe, just a hand­so­me dip­lo­mat), and spe­aks to God thro­ugh elect­ric light bulbs.

Ba­sed on the no­vel by Vic­tor Ero­fe­ev 

"Me, un­dersig­ned, Iri­na Vla­dimi­rov­na Ta­raka­nova, ali­as Jo­an of Arc, The Ma­id of Orléans ali­as, part­ly Ma­ry of Egypt, Rus­si­an, preg­nant, non-par­ty, de­ep­ly sym­pathe­tic, di­vor­ced, the first hus­band – I do not re­mem­ber, the se­cond one – a fo­ot­baller, prin­cess, pat­ri­ote, in­vo­lun­ta­rily de­pen­dent, re­siding in the Uni­on of So­vi­et So­ci­alist Re­pub­lics sin­ce my birth, ha­ving be­en re­tur­ned to my pla­ce of ori­gin in Mos­cow in 23 years; And­ri­ano­pols­ka­ya stre­et 3, bu­il­ding 2, apart­ment 16, dec­la­re my will to mar­ry my ado­red fi­ancé Le­onar­do da Vin­ci, ha­ving be­en an Ita­li­an ar­tist, no­wada­ys an ano­nymo­us and rest­less bo­dy. The mar­ri­age will ta­ke pla­ce in my apart­ment at the idi­cated ti­me. Sig­na­ture: (Iri­na Ta­raka­nova)" 
Vic­tor Ero­fe­ev, "Rus­si­an Be­auty" 

The no­vel Rus­si­an Be­auty was writ­ten by Vic­tor Ero­fe­ev in the ear­ly 80s and was on­ly pub­li­shed 10 years la­ter; it tur­ned out to be too ra­dical for Rus­si­an so­ci­ety. Even af­ter the col­lapse of the USSR the bo­ok pro­voked strong in­digna­ti­on. Desc­ri­bing the sto­ry of Iri­na Ta­raka­nova, who co­mes to con­qu­er Mos­cow from a litt­le pro­vin­ci­al town and qu­ick­ly plun­ges in­to vi­olent and ruth­less se­xu­al li­fe, Ero­fe­ev do­es not he­sita­te to call things by the­ir na­me. The frank­ness with which he hurls the stre­am of fe­male cons­ci­ous­ness at his re­aders co­uld on­ly shock in­ha­bitants of the USSR – a co­unt­ry “with no sex”. La­ter the bo­ok was trans­la­ted in­to do­zens of lan­gu­ages and re­cog­ni­zed thro­ug­ho­ut the world. 
Spec­ta­tors as well as the no­vel re­aders are plun­ged in­to the he­ro­ine’s in­ner world and watch the who­le sto­ry thro­ugh her eyes. Iri­na Ta­raka­nova, per­formed by Eka­teri­na Steb­li­na from Stu­dio Se­ven, we­ars a scar­let dress, sings in Por­tu­gu­ese with the ac­compa­niment of a mys­te­ri­ous Car­los (who is rep­re­sen­ted by a crow be­hind the win­dow or, ma­ybe, just a hand­so­me dip­lo­mat), and spe­aks to God thro­ugh elect­ric light bulbs. She de­livers pas­si­ona­te mo­nolo­gu­es and dan­ces to La­tin-Ame­rican rhythms, dre­aming of be­coming a new Jo­an of Arc. 
In Ber­ko­vich’s show the who­le sta­ge is co­vered with the stri­ped matt­res­ses which eit­her turn in­to pho­ne bo­oths, car se­ats or tomb­sto­nes. It is an ab­surd world whe­re de­liri­um can­not be se­para­ted from re­ali­ty; sex is a subs­ti­tute for lo­ve and the on­ly way to over­co­me in­sa­nity is de­ath. 
Ex­cept for Ta­raka­nova, the­re are on­ly two ac­tors on the sta­ge: An­na Gu­ly­aren­ko and Vy­ac­heslav Gi­linov who per­form all the ot­her ro­les, ran­ging from ga­rish Mor­do­vi­an Po­lina Ni­kano­rov­na to Ge­neral Vla­sov’s corp­se. The play is ne­vert­he­less do­mina­ted by the Rus­si­an Be­auty, torn to pi­eces by her dre­ams of a lu­xuri­ous li­fe, by her de­sire for lo­ve and her stri­ving for Rus­sia’s sal­va­ti­on. This is a sto­ry of be­auty that on­ce aga­in tri­es to sa­ve the world but do­es not suc­ce­ed.

Gallery
Authors:
Music, musical direction:
Songs translation:
Ri­nat Va­li­ul­lin
Choreographer:
Ale­xan­der Ly­uba­shin
Set design:
Ulya Kha­shem
Costumes:
Ki­rill Mint­sev
Stage manager:
An­ge­lina Gav­re­ly­uk
Actors:
Irina Vladimirovna Tarakanova: 
She: 
An­na Gi­ly­aren­ko
Carlos: 

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