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Луйс Mари. Ода «К Радости».

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Афиша на XV театральный  сезон


How happened that the theater decided to stage a French play in French? We decided to talk about this with Art Director of Moscow Armenian theatre Slava Stepanyan.

- How is it that this performance was staged in your theatre?

- At the time, this performance was shown in Tbilisi. He was executed in three languages: Armenian, Georgian, and French. The idea originated with a 2 close to me: Nelly Shahbazova (head of the literary section of the Moscow Armenian theatre) acquainted me with Natalia, Chaganava (Creator of the role of the heroine in the Opera of Poulenc) and Irina Tojolobal, which in turn introduced me to Joan arutunova in Moscow. The play was a great success in Tbilisi, and when I arrived in Moscow, I had the idea to put this show here as well. Certainly, in Moscow it was possible to make his statement in Russian, Armenian and French. Without the French version it is impossible to imagine that a theatrical production. Back in Tbilisi, thanks to this performance we have acquired a large number of friends among the French, who supported our initiative. In Moscow the same thing happened. Why I decided to put this show in French? It was a spiritual impulse, rewarding. I am very grateful to all our friends who I met thanks to the play "the human Voice", and the number continues to grow.

But how did You manage to make the setting of the play in French?

First of all, it was necessary to find an actress that can play a major role. At first we were three, four or even pretender to it, however of all the candidates there is only one – Zita Badalyan. However, to pick an actress is only a small part of such a large project as this. So we met with Jeanne Arutyunova, wonderful intelligent woman, which was recommended to us by a specialist in French language, Olga Ryabov, who has worked with our actress is more than three months. Shortly after this there our acquaintance with Joel Montauk, and because of this brilliant trio we met with the French public.

your performance is attended by pupils of French Lyceum named after Alexander Dumas. What was the point of this idea ?

- In this case, it was the embodiment of a very dear to me is the fact that when communication occurs at the level of the human soul, the nationality of people does not play already any role. Here to each other are only the two human beings. All that is between them is present in them the ability to understand each other. And we managed to present it on stage. Actually, this was the main goal — being on the same stage, individual characters that belong to different cultures, are able to create among themselves a mutual spiritual connection. That should prove once again that art not only can, but must serve to bring people together. I've always admired in art and in music there is no language barrier. All I wanted was to try to overcome this barrier and on the level of theatrical art.

- Why did you choose the film?

- Cocteau – genius. This is a man whose talent with exceptional force manifested in several areas, — it and design, literature and painting and theatre and the art of cinema, not to mention the organization of Russian parties. And so I am so pleased with this production to Express his admiration for the talent Cocteau. The play "the human Voice" was the first monodrama, received worldwide recognition, and therefore I don't want forgot about it. Although it should be noted that this work is complicated enough that his name frequently appeared on playbills.

- In Your opinion, what is the main idea of “human Voice”?

- this plays a lot of different aspects. However, we would first like to emphasize that this is a play about love in its highest form. In addition, it is impossible not to take into account the religious aspect of “the human Voice”, including and especially the Christian faith. In the play we find ourselves in a world of the heroine, once again returning to Earth after she committed suicide. In the text of the play is not — this kind of recycling story we did this on purpose, so as to punish the heroine, who was unable to assess the merits of earthly life. It is an original way to show that today a large proportion of serious accidents happen because of lack of faith, although in this case it is necessary to speak not only about faith in God but also belief in the power of love, beauty and friendship.

I want to emphasize that we would not be able to carry out this project without the assistance and understanding from the representatives of the Embassy of the Republic of Armenia in the Russian Federation and personally to Ambassador Extraordinary and Plenipotentiary Mr. Armen Smbatyan. And we are very grateful for their help and support.

“the human Voice” – a monodrama, which means all the action is focused on one actress, which has, indeed, not an easy burden, and this actress in the troupe became Zita Badalyan, the young, fragile woman, which carries the main part of this performance. Here's how she says about it.

with Zita, how did it happen that you started working on this production, and what difficulties have you encountered?

- I dreamed of playing this role, as for women Actresses that image, the same as that for the male actor to perform the role of hamlet. During these five months I tried to discover a new, previously not known to me quality. This role gave me a lot not only in professional but also in personal terms. For five months we have managed to prepare a version of the play in Armenian, Russian and French languages. I myself do not speak French, however, taking a few lessons from Olga Ryabova, I was able to assimilate certain provisions of French grammar and learn to read. Of course, I can't say that speak the language and understand it, and this despite the fact that to play I had to memorize sixteen pages of the French text. Subsequently, after the performance, I was very pleased to hear from French people that I have a pronounced accent, occurring in the South of France. I am very grateful to Slava Stepanian and all the staff of our theatre for this role, which has given so much to me.

You play a role in three languages. Do you feel any internal differences between the heroine, when she speaks Armenian, Russian and French?

- When the decision was made to start working with other languages, Stepanyan said to me, “I want you to have preserved the image of the heroine.” And I managed to achieve this with my native language, Armenian. Mainly it was because only through the native language I can feel the inner pain and the image of the heroine, which entirely consists of bizarre plexus pain and love. I managed to keep myself inside this atmosphere and to convey to the audience of its melody. Now I can speak any language, even carry the full of gibberish, retaining, however, the image of my heroine.

the Journal "the French language" ("La Langue Fransaise") No. 9, may 2007

Category: "Art and culture"

Section: "Theatre"

"COCTEAU in its original version"

an Interview with Lily KISELEVA

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