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Frenchman in Vladivostok - EastRussia |






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French in Vladivostok

Director Alain Maratra: "The actor on the stage should not be comfortable ..."

February 10 in Primorye, the opening of the year of the great Russian composer Sergei Prokofiev. The transfer to the Primorsk stage of the Mariinsky Theater of the famous opera by Sergei Prokofiev “Love for three oranges” is timed to this event. The famous French opera director Alain Maratra arrived in Vladivostok for its production (to be held at the end of February), whose creative career as an actor, teacher and theater director covers more than a dozen countries on several continents.

French in Vladivostok
The Far Eastern public expects a surprise from the "Three Oranges" in the version of Alain Maratra. The maestro himself is not inclined to reveal all the cards of the premiere, but kindly agreed to give an interview to ER, in which he told about his creative credo and shared his opinion about the place of the opera house in contemporary stage art.

“Opera with its 18 style of the century is often perceived as an archaic form of performing arts. Do you think the efforts and talent of the director can change this perception and expand the audience of the opera house?

- You know, Valery Gergiev, the artistic director of the Mariinsky Theater, puts this task at the forefront - how can we expand the circle of admirers of operatic art? The maestro is tirelessly looking for ways to interest young people, so that it is precisely the young viewer who, if he does not prevail in the performances, then constitutes a significant part of the public.

And I must say that Russia in this sense looks more optimistic than the same France. At us in theater intellectuals go, wishing to spend beautiful evening. In Russia, however, the circle of theater audiences is much more socially diverse. In Moscow, St. Petersburg, and even in Vladivostok, too, judging by everything, the theater in general and the opera house in particular - people who are noticeably different both in terms of income, employment, and age are interested ...

Today opera is an expensive pleasure. It can not be promoted to the masses without state support. But government officials often do not even try to go beyond the perception of opera as an elitist art. And it should not be a cake, it should become daily bread ...

And you are right about the fact that - the opera of many ordinary people in advance frightens off its archaic and pathos. Eighty musicians, "buried" in the orchestra pit - greetings from 18-th Century, when the yard is already beginning 21-ho! But this can and must be fought with. At one time, the canons of opera, but at the same time following its deepest foundations, Mozart destroyed. In the 20-century it has successfully made a "Beatles", "Pink Floyd", "Rolling Stones", Endryu Uebber and Tim Rays who wrote the rock opera "Iisus Hristos - Superstar".

Your humble servant is also trying to bring his innovative techniques to the best of his modest powers ...

- Which of them will be presented in the play "Love for Three Oranges" on the Maritime Theater's Maritime Theater in Vladivostok?

"I do not want to reveal all the cards yet." Come and see.

- In your biography, it is said that in your productions you are paying exceptional attention to the technique of the body of actors ...

- The body is the main component of any acting game. Amazing in its capabilities. Body language is real. And in opera, it is music that sets the mood, the tone for the manifestation of feelings, which are expressed by the play of the body. In this sense, an operatic actor is easier than a drama theater actor. The musical message, the message initially charges the necessary energy and gives the vector movement in a certain direction, it helps not to be distracted from the main one.

In the opera tale of Sergei Prokofiev's "Love for Three Oranges", the protagonist is a lazy and sick prince, doomed, nevertheless, to go through the crucible of various adventures - in principle only the body language can convey the contradiction between his psychological essence and the vicissitudes that the He had a fabulous fate.

- You already managed to conduct one rehearsal in Vladivostok with the Mariinsky Primorye actors. How much did they find them ready to accept your directorial demands?

- One rehearsal is not so much. But she let me see that among the local actors there are incredibly talented guys.

- If you compare today's theater youth with your generation, whose youth fell on 70-80 year 20-th Century, in whose favor will the comparison be?

- You know, I have a feeling that we were more happy about life as such. Now, among the young, you can often find those inclined to despondency - for this or a trifling occasion: I ate it not, the weather is bad, housing is not comfortable ... But I do not hurry to reproach some young people for grumbling - it may be that they have objective reasons for this.

- Are you comfortable with the artists you see for the first time, for example?

- Do not think for coquetry, but I'm happy when I'm not comfortable. When there is some psychological stress, doubts. And the actor on the stage should not be comfortable, otherwise the public will be bored. Comfort is the death of the theater. After all, the main thing on the stage is to reproduce life. And she, by definition, for anyone, is never comfortable. To live is difficult.

- Do you require actors to get used to playing the image or keep a distance from it?

- You know, Stanislavsky, who is considered to be the author of the theory of living in an image, once said: there is no methodology, you just need to free the soul. I agree with this thesis.

- Opera "Love for the Three Oranges" you put in Italy, France, the US, Russia (Moscow and St. Petersburg). Now you will put in Vladivostok. Do you take into account the setting of the local public?

- The performance - as well as the film - does not depend on the place of its presentation. Well, for example, if I were a film director who made a film in color and brought it to Vladivostok, it would not have turned into black and white from the very fact of moving to another place. The performance is a picture intended to touch the deep strings of the human soul, which, I dare to believe, among all the inhabitants of the planet Earth - do not differ much from each other.

ER Help:

Alain Maratra - a graduate of the National Institute of Theater Arts (INSAS) in Brussels. As an opera director, he has staged in more than a dozen world-renowned performances: Prokofiev's Love for Three Oranges, Shabrie's Star, Offenbach's Robbers, Passeport Musical pour Paris, and others. He collaborates with the theatrical venues of France, the International Theater Festival in Sao Paulo, Peter Fomenko Theater, dancers, actors and singers of the traditional Baltic theater. Alain Maratra is known as a theater teacher. Since 1999, he teaches the art of improvisation at the Paris Conservatoire. Under his leadership Sergei Prokofiev's opera "Love for Three Oranges" (according to Maratra - "this is the story of a prince who once opens his eyes and sees that the world does not correspond to his idea of ​​him") was from 14 March 2007. In Moscow, this production was presented 8 May 2007 year on the stage of the Musical Theater. K.S. Stanislavsky and Vl.I. Nemirovich-Danchenko, in the framework of the VI Moscow Easter Festival Valery Gergiev.

Seaside scene of the Mariinsky Theater - one of the youngest in theaters of Russia. It was built as part of the APEC 2012 Summit of the Year. The original design of the theater made it one of the attractions of Vladivostok. The building is made in the form of a “cube in a cube”; the most advanced technologists were used in its construction. The theater has three venues: the Great Hall, the Small Hall and the Summer Platform. The big hall of the theater is in the shape of a horseshoe; its capacity at maximum load is 1390 seats. Natural materials - composing wood panels made of Philippine pine, and a cable-stayed ceiling, created without the use of metal - became the basis of the unique acoustics of the Great Hall. Maximum occupancy of the Small Hall - 312 seats. The parterre of this hall can transform and transform into a single space with a stage.