A Midsummer Night's Dream

Perfomance, 18+ 4:00, 1 intermission
Ki­rill Se­reb­renni­kov sta­ged one of the most enig­ma­tic and fa­bulo­us of Sha­kes­pe­are’s co­medi­es, trans­for­ming it in­to a fas­ci­nating the­at­re trip. The audi­en­ce, gu­ided by the cha­rac­ters, ramb­les thro­ugh the mys­te­ri­ous fo­rest whi­le the plot ta­kes pla­ce in fo­ur dif­fe­rent spa­ces. Pro­se in­serti­ons by the pla­yw­right Va­lery Pe­che­ikin are mo­un­ted in­to Sha­kes­pe­are’s text in ver­se, as if the cha­rac­ters we­re at a psy­cho­ana­lyst con­sulta­ti­on, wan­ting to de­al with the­ir sub­cons­ci­ous fe­ars.
Ba­sed on Sha­kes­pe­are’s play and Va­lery Pe­che­ikin’s texts in Ki­rill Se­reb­renni­kov’s adap­ta­ti­on. 
…The­re are fo­ur sto­ri­es. Fo­ur spa­ces. The ho­peless­ly bro­ken gre­en­ho­use of the fa­iries, el­ves, ar­tists. The scho­olyard – a pla­ce for re­ading rap and kis­ses in front of a dump­ster. The pent­ho­use of the “ru­lers”. A work­men’s shel­ter with a Chi­nese TV whe­re the ama­te­ur the­at­re of an ho­nest be­ar­ded car­penter Pe­ter Qu­in­ce re­he­ar­ses a per­forman­ce abo­ut Py­ramus and This­be. They don’t see each ot­her, that’s the mat­ter! <...> Fo­ur dif­fe­rent crowds wo­uld ne­ver in­termix in­to a uni­ted one. And now the con­gested audi­tori­um be­gins to re­mind so­met­hing: this dre­am is ca­used by the re­ali­ty. Do you un­ders­tand, by which one? Ele­na Dy­ako­va, "No­va­ya ga­zeta" 
Ki­rill Se­reb­renni­kov sta­ged one of the most enig­ma­tic and fa­bulo­us of Sha­kes­pe­are’s co­medi­es, trans­for­ming it in­to a fas­ci­nating the­at­re trip. The audi­en­ce, gu­ided by the cha­rac­ters, ramb­les thro­ugh the mys­te­ri­ous fo­rest whi­le the plot ta­kes pla­ce in fo­ur dif­fe­rent spa­ces. Pro­se in­serti­ons by pla­yw­right Va­lery Pe­che­ikin are mo­un­ted in­to Sha­kes­pe­are’s text in ver­se, as if the cha­rac­ters we­re at a psy­cho­ana­lyst con­sulta­ti­on, wan­ting to de­al with the­ir sub­cons­ci­ous fe­ars. 
Se­reb­renni­kov dis­jo­in­ted Sha­kes­pe­are’s play and di­vided it in­to se­veral sto­ri­es, ves­ting each one with a par­ti­cular sty­le. Now, gods dwell in a hot­ho­use cons­truc­ted from dus­ty sa­shes li­ke man­si­on ow­ners. Swe­et­he­arts lo­ok li­ke gra­du­ates sor­ting out the­ir re­lati­ons­hip, sit­ting on scho­ol bench in the midd­le of a dis­co, or­ga­nized on the oc­ca­si­on of the­ir gra­du­ation par­ty. The­se­us and Hip­po­lyta are deg­ra­ded to midd­le bu­siness class pub­lic per­sons and ro­yal­ly rec­li­ne for so­me re­ason on hos­pi­tal beds. Wor­kers are a che­ery crowd of half-drunk fel­lows who ge­nero­us­ly spre­ad gar­ba­ge pas­sing thro­ugh the wo­od. The play ba­lan­ces bet­we­en the sca­ry and the fun­ny, dif­fe­rent gen­res and ti­mes. Des­pi­te all the chan­ges, its ma­in po­wer re­ma­ins Lo­ve and its ma­in the­me – the re­lati­ons­hip bet­we­en man and wo­man, which has al­wa­ys led to a ca­tast­rop­he. Yet, Arts tri­umph in the end. The ama­te­ur wor­kers’ play abo­ut Py­ramus and This­be’s pas­si­ons turns sud­denly in­to a re­al tra­gedy and its mag­ni­ficent fi­nal per­formed to Mon­te­ver­di’s Ba­roque mu­sic in­volves the audi­en­ce. The per­forman­ce of the “Se­venth Stu­dio”.
Gallery
Authors:
Architecture items: 
Ka­tya Bo­chavar
Choreographer: 
An­na Aba­lik­hi­na
Costumes:
Ki­rill Mint­sev
Eka­teri­na Gur­bi­na
Video designer: 
Directing and pedagogic coach:
Pedagogic coach:
And­rey Ku­zic­hev
Ma­rina Go­lub
Mik­ha­il Lo­banov
Constructor:
Oleg Shcher­ba­kov
Actors:
I. Gods’ story
II. People’s story
  III. Powerfuls’ story
Hippolyta I:
Theseus II: 
IV. Workers’ story
Cobweb / Dunkey / Pyramus:
Duda / Thisbe:
Snout / Wall:
Wedge / Prologue:
Starveling / Moon:
Musicians:
Yuriy Lo­bikov
Media about the event
Тол­ко­ватель сна
Антон Хитров, Watch Russia
Тол­ко­ватель снов
Павел Руднев, блог журнала «Театр»
Шекс­пир пси­хо­ана­лити­ка
Наталья Витвицкая, «Ваш досуг»
Сон и его ок­рест­нос­ти
Евгений Онегин, W-O-S
Сон в це­хе бе­лого
Марина Райкина, МК
Прис­нится же та­кое!
Вадим Рутковский, Сноб
Шекс­пир на ку­шет­ке
Николай Берман, Газета.ру
Третье прост­ранс­тво
Алёна Карась, Российская газета
На заб­ро­шен­ной да­че Обе­рона
Елена Дьякова, «Новая газета»

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