''Mozart and Salieri'' directed by Anatoly Vasiliev.
Rome, Teatro di Valle, 2000.
Mozart - Igor Yatzko.
Salieri - Gregory Hlady.
Scenography - Vladimir Kovalchuk.
History of the theatre "School of Dramatic Art".
On February 24, 1987 Moscow theatre "School of Dramatic Art" was officially open.
On the venue of the theatre "School of Dramatic Art" Anatoly Vasiliev staged the following performances: " Today We Improvise " by L.Pirandello (1990) ; " Fiorenza " by T.Mann (1993) ; " Joseph and His Brothers " by T.Mann (1993) ; " Amphytrion " by Moliere (1994) ; " The Lamentation of Jeremiah ", the book of Jeremian, sung, composer Vladimir Martynov (1996) -- in 1997 the performance " The Lamentation of Jeremiah " was awarded the National Theatre Premium " The Golden Mask " in two nominations : " As the best performance " and " For the best scenography " ; " A.S.Pushkin. " Don Juan, or " the Stone Guest " and Other Verses " (1998) ; A.S.Pushkin " To *** " (1999) ; A.S.Pushkin " Mozart and Salieri, V.Martynov " Requiem " (2000) ; " Pushkin Matinée " (2000). The performance " Medée -- Materiaux " by Heiner Muller (2001) is the last premiere of the theatre " School of Dramatic Art ".
Laboratory - School - Theatre
The main concept of a 'Laboratory-Theatre' is focused on research and the ever-present possibility of experiment. The main concept of a 'School-Theatre' widens the boundaries of that search, as well as helps to secure the results found in the laboratory, so that new discoveries are directly transmitted to pupils in the everyday process of teaching. The School generates new theatre technologies, eventually it gives birth to a new theatre style; and after that new style penetrates and permeats an actor, after it becomes the actor's second nature, we can start talking about a new artistic trend, new poetics, in fact, about a new theatre being born.
That new ideology defines theatre as a kind of cosmos, as an orderly whole, as a diligently constructed unity that withstands and opposes chaos, or gaping void of modern (civilized) theatre. Vasiliev was always interested in the origin of theatre, in the ancient sources of art in general; he found a convincing enough archetype of art in the ancient, archaic structures of the myth. That understanding has completely changed his attitude towards words that are now increasingly regarded as a living body of mythological structures. And creating new myths, that is, trying to return to initial origins inevitably means fighting and surpassing the petrified forms of civilization. All his later productions (he defines them with a mediaeval term: 'mystery plays') - "Lamentations of Jeremiah", "The Stone Guest", "Mozart and Salieri", "Medeamaterial" - reflect that new ideology, as well as embody new art technologies. The new, verbal techniques directly oppose psychological, or narrative structures of traditional theatre; their very existence is rooted not in human psyche but in words. The new 'verbal' direction of work is firmly grounded in several years of laboratory research, of first-hand theatre experience, of looking for a new theatre style. In Vasiliev's opinion that new theatre system of methodology is capable of producing performances in various theatre genres, be it high tragedy, high comedy, rite, mystery play... And all those performances convey some basic myths, translate a meaning that is essentially meta-physical, that is, placed above and beyond any human psychological structures. For Vasiliev that constitutes a possible image of future theatre, it provides us with a tangible proof that we still have a chance to resist the present-day pseudo-psychological, commercial and boulevard theatre.
Philosophy and practice of "The School of Dramatic Art" has brought theatre back to its initial sacred and mysterial origin, in fact, has brought it back to its home territory - the territory of metaphysics.
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Gregory Hlady as Salieri. Pushkin's''Mozart and Salieri'' directed by Anatoly Vasiliev.2000,Rome.1/3by gregoryhlady722 views
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