I went to the play “Tartuffe” at the Malaya Bronnaya Theater with Viktor Sukhorukov. Whoever I invited to come with me - no one agreed! The husband, as always, the girlfriends are all one and the same under different pretexts - one doesn’t like the classics, the second doesn’t want to watch how modern theaters they mock the classics, the third one seems to want to go to a Russian play, but with mother-of-pearl buttons, the fourth one refused, because the next day she and I were going to Tel Aviv for children's performance... I didn’t even call the others, I was tired of refusals. I went alone, I shouldn’t miss the performance because of such a trifle as the lack of a companion. I didn’t regret a minute! Oh, what a performance it was! How beautiful and colorful everyone there was! Every actor had at least one bright scene. The maid Dorina seemed a little vulgar to me, but that’s why she’s a maid, not a mistress. And Tartuffe! What a Tartuffe it was! I was glued to the binoculars so as not to miss the slightest change in his facial expressions, not to miss a single word of his. And what plastic! This is a great actor!

The actors spoke the language of Molière, but the production looked quite modern, despite the scenery and costumes. They got it wrong! Modernized! - I decided. I went to re-read it and was amazed, the play did not deviate one iota from the playwright’s plan, and all the plot twists were kept intact, not to mention the text.

Who did I meet at this performance! (everyone I didn’t think to call!). Unfortunately, there were many empty seats in the hall. Before the start of the performance, a huge line lined up at the box office, and the organizers decided... to let people into the hall with printed payment receipts. Usually I always forget these receipts, but this time I grabbed them and was one of the first to enter the hall. It was very convenient, almost like electronic tickets.

I didn’t remember who Viktor Sukhorukov was. many years ago he was kicked out of the theater for drunkenness, and he wandered, tramped and drank, worked as a loader. But then he managed to return to the profession and become an actor again. The film “Brother” and especially “Brother-2” brought him fame. And then they saw in him not only a shaven-headed scumbag, he began to act a lot, began People's Artist and received many awards for his film roles. I saw him play and I can confirm that all his awards are absolutely deserved. He was a wonderful Tartuffe, if you get the opportunity, be sure to watch this performance!

I was looking for a trailer to insert into the post, but I found... a whole performance!!! With the same actors, very well shot. Of course, it's much better to watch live! but if you don’t have this opportunity, you can also watch the recording:

I'm still delighted and have a wonderful aftertaste. It’s a pity, I can’t write reviews on the same day or the next day so that everyone can run and buy tickets in other cities where this performance is still on. Yesterday I even wrote to Kirula, having discovered that “Tartuffe” was showing right in Ashkelon, but, unfortunately, she was not able to go. I'm very glad I went - it was wonderful!

Characters and performers:
Tartuffe, the saint - Viktor Sukhorukov
Orgon - Alexander Samoilenko
Mrs. Pernel, his mother - Anna Antonenko-Lukonina
Elmira, his wife - Olga Lomonosova, Olga Vyazemskaya
Damis, his son - Dmitry Guryanov
Mariana, his daughter - Ekaterina Dubakina
Valer, a young man in love with Mariana - Dmitry Serdyuk, Alexander Bobrov
Cleant, Elmira's brother - Vladimir Yavorsky
Dorina, Mariana's maid - Agrippina Steklova
Mr. Loyal, bailiff - Ilya Zhdanikov
Officer - Ilya Zhdanikov

"Tartuffe" - new performance in the repertoire of the Theater on Malaya Bronnaya, its premiere took place on November 5, 2011. The production was directed by Pavel Safonov. For the performance he chose exclusively talented actors, forming a strong and harmonious ensemble. The choice of Viktor Sukhorukov for the role of Tartuffe is natural. Since the charming actor is a favorite of the public, his work in the role of a negative character added poignancy to the performance and additional colors. However, the main character of the production was not chosen. At the center of the story, Pavel Safonov decided to place the head of a hospitable family and the owner of a cozy big house, Orgon, performed by Alexander Samoilenko. “Tartuffe” at the Theater on Malaya Bronnaya is a story about how a generally good person inadvertently falls under the influence of an unbearable saint.

According to the director, people are constantly in search of an ideal; it is vital for them to love someone, trust and worship someone. This faith gives hope for the best, makes you feel safe and protected. But as a result, this “someone” still turns out to be loved ones, since it is in them that eternity is hidden, it is they who are able to make us stronger. Orgon dreamed of making the world happy, and his thoughts were pure, but there was also calculation in them. Our hero hoped to become related to the saint, to become the saint’s brother, and even to do it demonstratively, for show, so that everyone would see how he sheltered the saint, warmed him and fed him. And, despite all Orgon’s pure thoughts, his vanity and narcissism were hidden in these dreams. The result was disastrous: a quarrel with his family, separation from his son, ruined fate of his daughter and discord in his relationship with his wife. And only at the very end, after Tartuffe’s betrayal, Orgon was able to look at his loved ones with different eyes, and love, faith, and hope returned to him - true, sincere, and not fake.

Performance Tartuffe - video

On the stage of the Moscow Art Theater, Anatoly Efros staged one of his most Vakhtangov-like performances. He turned to Jean-Baptiste Moliere's most popular comedy, Tartuffe, and staged an incredibly funny, but at the same time “smart” play, where Stanislav Lyubshin made his debut on the Moscow Art Theater stage in the title role.

At that time, the actor’s work seemed controversial to many, but one thing is certain: it was precisely with the personality of this artist, the dialogue, or even an argument with him, that the production was designed. It is no coincidence that Efros wrote even before the start of rehearsals: “Tartuffe is impudent and purposeful. He's flexible. He's dangerous! I see an artist who could play all this well - Smoktunovsky. Or maybe Lyubshin? It seems to me that they have these scary colors. We need to play not a hypocrite, but a contender for power. Politician. A man capable of conquering and befuddling.”

When the premiere came out, it seemed to many that it was not Tartuffe that took first place here - Lyubshin’s work seemed so faded at first glance in comparison with the brilliance of colors shown by Alexander Kalyagin (Orgon) and Anastasia Vertinskaya (Elmira). But this was another ethrosophical “changeover”. Just as the inhabitants of Orgon’s house do not immediately notice how a “snake” crawls into their house, in the same way Tartuffe - Lyubshin is not immediately taken into account.

Against the backdrop of a space draped with luxurious golden fabrics, against the background of an incredibly huge chandelier with candles flickering under the caps, which rose at the beginning of each act and fell at its end (set designer - Dmitry Krymov), against the backdrop of colorful and whimsical camisoles and dresses, unobtrusively stylized to the era “Sun King” (costume designer - Valentina Komolova), with his first appearance in a gray velvet suit, Tartuffe Lyubshina evoked associations with a gray mouse. You don’t get used to such a youthful, lean, restrainedly self-confident Tartuffe right away, but gradually, from scene to scene, the actor and hero, following the will of the director, reveal themselves to be terrifying and extremely modern look. A rude, arrogant cynic with a wry smile and a frankly shameless look, he goes ahead. He does not disdain small matters, he is capable of outright meanness, but the most terrible thing about him is his frightening ordinariness. Stanislav Lyubshin plays a man who is always nearby, whom each of us can quite (under certain circumstances) turn into.

And he (Tartuffe) is this notorious hypocrite, and therefore the actor is the only non-comedian in this festive Molière theater, where the first actress is the beautiful Elmira. Anastasia Vertinskaya plays a brilliant young woman who takes control of all the threads of intrigue, and to do this she has to show all the artistry of her nature, use all her charm and lull the suspicions of the incredulous Tartuffe. Someone called her “a bold seductress with with frightened eyes”, and, indeed, this image works best in a seduction scene. Vertinskaya conducts this scene very accurately and gracefully - every gesture is inimitable and graceful, every glance is enchanting - it’s true, in the words of Moliere, “bashfulness and tenderness are fighting a cruel battle.”

And if in Anastasia Vertinskaya’s play there is high comedy: elegant marivage, adjacent to the brilliance of Beaumarchais’s images, then Alexander Kalyagin in the image of his Orgon gives the viewer an example of the comedy of simplicity. Comedy bordering on genuine drama. After all, Orgon, as Kalyagin presents him, under the guise of the most charming good nature, plays the drama of betrayed trust, to say the least, faith. His Orgon desperately believes in the virtue of the person he sheltered, and clings to this faith to the last, and when he is deprived of faith, he breaks down. The truth turns out to be damning. And now final scene: Tartuffe was tied hand and foot, he was about to be sent to trial - it would seem that the enemy was defeated. And here, from the gentle, good-natured person that we have been watching Orgon throughout the play, frightening features suddenly break through: he goes berserk, restrained by Valerie and Cleanthe, flails his legs in an impotent rage and spits at the one whom he had recently exalted so highly...

And this finale, perhaps, overlaps in its impact even the climactic scene with the exposure of Tartuffe - the famous scene between Tartuffe, Elmira and Orgon. And such a dramatic, cruel note is perfectly suitable as the final coda to the mischievous and laid-back comedy played by the Moscow Art Theater actors. Over the course of two hours, the action captivates the viewer with rapid rhythms, sparkling lines like blades and unbridled theatricality. The buffoonish sparkle spills out from the stage into the stalls, which surrender to the director's unbridled fantasy and pay for it with almost incessant laughter. But the performance ends, very little time passes, and the fun begins to recede, giving way to not at all rosy thoughts about human nature. This is the aftertaste that remains after the “bottle of champagne” offered to the viewer by Anatoly Efros and the Moscow Art Theater actors.

French comedy with Russian stars- the immortal “Tartuffe” on the stage of the Theater on Malaya Bronnaya, directed by Pavel Safonov. In his interpretation of Moliere's famous play, the talented director brought together the most remarkable artists on the Moscow stage. As a result, the performance “Tartuffe” turned out to be funny, original, modern, stylish, but preserving the classic author’s text.

The play “Tartuffe” is a funny and instructive comedy

A play written more than three centuries ago J-B Molière and today does not lose its relevance. It evokes a sea of ​​emotions in the viewer, just as decades ago, it sounds sharp and topical. This play was staged and shown different theaters all over the world, the most eminent and emerging directors offered their interpretations.

But Safonov’s performance “Tartuffe” at the Theater on Malaya Bronnaya is special. Its uniqueness lies not only in the magnificent cast of actors gathered on one stage to once again remind the public of the existence of human vices, but also in the way the director presents the essence of human shortcomings.

Tartuffe by Pavel Safonov is different. The director places all the responsibility for what is happening not on this sneaky saint, who is only using the situation for himself, but on the owner of the house, Orgon. He is no less filled with vices, ready to accept even the most absurd flattery, ambitious and deceitful. And in the face of each member of his family, as if in unison with the owner, authority, talkativeness, female stupidity, rudeness, weakness of will are manifested... How many such people surround each of those sitting in the hall?

Fireworks display of the most brilliant stars in the play “Tartuffe”

The director invited audience favorite Viktor Sukhorukov to play the role of Tartuffe in the play. According to the artist himself, he enjoys working on the role, but disputes also arise regarding the extent of the character’s hypocrisy. Outwardly, he is decent and says the right things, but quickly forgets about his promises. What the media actor plays is known to be negative hero, fuels the public's interest.

Others are also involved in the play “Tartuffe” 2018 famous artists: Olga Lomonosova, Alexander Samoilenko, Agrippina Steklova. For the excellent set design and original “puppet” costumes of the characters, the viewer should thank the artists Evgenia Panfilova and Nikolai Simonov. With them light hand Tartuffe-Sukhorukov either walks in rags, then puts the audience into a trance, tearing off his clothes, then appears in a shiny yellow cloak, symbolizing his betrayal, which has become obvious.

Tickets for the play “Tartuffe” at the Theater on Malaya Bronnaya

It’s worth seeing the play “Tartuffe” in Moscow, if only because, before it even appeared on stage, it became a nominee for the STD RF “Highlight of the Season” award in 2012. A funny and instructive play will definitely appeal to both older audiences and young theatergoers - it is incendiary, bright and always evokes a response from the audience.

The most convenient way to buy tickets for Tartuffe is on our website. The modern service is intuitive and allows you to:

• find an interesting performance in a few clicks;
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You can pay for tickets to “Tartuffe” by card, bank transfer or cash, come to the performance and get a lot of pleasure from the excellent acting and the director’s unique methodological techniques.

Text: Alena Loseva
Photo: Sergey Chaly

The Maly Theater poster looks luxurious and strict: classic. Classic. Classic! In the repertoire of one of the best and oldest theaters Moscow you will definitely find works by Russian and foreign classics any era. And that's great. In May 2018, on the stage of the Maly Theater we will meet Mr. Moliere, namely, his “Tartuffe”. The pre-premiere screening of the play took place on April 28 at Bolshaya Ordynka.

On the stage of the Maly Theater we see a magnificent acting duet of Viktor Nizovoy (Orgon) and Gleb Podgorodinsky (Tartuffe). The performance of these two actors carries the entire performance. This is the frame around which gradually, layer by layer, images of the charming Elmira emerge (winner State Prize Russia I.Yu. Leonov), meek Marianna (D.S. Novoseltseva), charming, resourceful Dorina (Honored Artist of Russia I.V. Ivanova), as well as other characters included in the centuries-old game described by Maestro Moliere. Orgon and Tartuffe met in order to explain to each other, as well as to everyone who wanted to watch their story, that one day they will still have to understand: it is possible to profit by playing on the vices and weaknesses of other people. But not for long. Exactly until the moment when the boomerang of the world balance appears, as always, suddenly, from around the corner, in order to establish justice. In Moliere's play, the source of such justice is His Majesty the King, who, although he does not appear on stage in person, puts everything in its place with a very timely decree.

Staged by stage director V.N. Dragunov in strict classic style"Tartuffe" is a performance for those who are tired of modern avant-garde. For those who want to take a break from the classics in modern processing, which often, alas, leaves nothing original in the work we are accustomed to. At the Maly Theater you will invariably be treated to professional acting that matches the author's style and text, high-quality scenery and costumes thought out to the smallest detail. But at the same time, the ancient play, dressed in heavy medieval velvet, weighed down with bronze candelabra and oak tables, suddenly turns out to be light, transparent and not at all boring.

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