Tickets for the play “One absolutely happy village. Tickets for the play "One absolutely happy village In the sky with a tag on his leg

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The desire to introduce the audience to the poetic world of Vakhtin's prose, to find an atmosphere akin to the author, led the creators of the performance to the form of sketches, stage sketches, extremely conditional and open to the audience's perception. The search for intonation, the fine line between the conventionality and the authenticity of the experience, was the main thing in this work. In the unusual play space of the Workshop, it was important to recreate a special figurative structure of the story, in which true life, fantasy, a dream are combined, where a cow, a well with a crane, and a garden scarecrow act, and the main characters are the River, the Earth, the Village. “... And about an absolutely happy village - this is not a story or a poem, it's just a song ... And war broke into this song ... "

Awards
laureate of the Golden Mask award in the nomination "Drama - Performance of a small form", 2001
Pyotr Fomenko was nominated for the Golden Mask award in the Drama - Best Director nomination, 2001
Polina Agureeva was nominated for the Golden Mask Award in the nomination Drama - Best Actress, 2001
Sergei Taramaev was nominated for the Golden Mask award in the nomination Drama - Best Actor, 2001
Laureate of the International Prize. K. S. Stanislavsky 2000 in the nomination "Best performance of the season"
Polina Agureeva - winner of the "Idol" award in 2001 in the nomination "Hope of the Year" for the role of Polina.

The performance was shown in St. Petersburg and Dresden (Germany).

Reviews of the performance viewers on the forum can be read using the hashtag #oneabsolutelyhappyvillage

ATTENTION! During the performance, performing the creative tasks set by the director and the author's remarks, the actors smoke on stage. Please take this information into account when planning your visit to the performance.

Fomenko is one of the few directors who can extract magical theatricality from the most ordinary objects and phenomena. Vakhtin's story tells about the war, but this is not a chronicle of battles and victories, but an attempt to comprehend the significance of this tragic event in the life of ordinary people. War only complicates the course of the life stream, but is not able to cut it off. It is perceived as a huge stone blocking the river. But the time comes, the river gains strength, overflows over the stone and calmly flows along the former channel. Olga Romantsova, "Vek" This is a touching, warm, subtle performance, which, perhaps, you will not meet now ... This is a performance in which the wisdom of an elderly person is tangible, and such a fresh, clear, sharp sense of life, which only people have, who have crossed a certain spiritual boundary and looking at her a little from the side ...
In fact, this is a lyrical confession of the wonderful director Pyotr Fomenko, who staged sketches based on Boris Vakhtin’s story “One Absolutely Happy Village” in his Studio: the performance is touching and simple, full of a piercing sense of the charm and doom of being…
Aleksey Filippov, Izvestia ... Fomenko sang the stingy realism of the Soviet countryside in the language of a pagan poet. Maya Odina, "Today" For the performance, "fomenki" and their heroes make a gradual path from animating things, mechanisms, animals, rivers to animating a person, animating life. From pure play to pure living. From the life of the earth, horizontal - to the life of the soul, vertical. It is spiritual - not spiritual. Let's leave the spiritual to the ideologues and ethics. And here, without any commandments and canons, they comprehend simple truths that they go to war in order to return from it. That our dead do not disappear from us anywhere, they are near, and love does not end with their death. It’s just that since it’s given us to live on, we must, we must love the living. Love is the only justification for our lives. Olga Fuks, "Evening Moscow" That's all that Pyotr Fomenko did. He placed his beloved and loving people under the gentle lantern of his memory. Life has been aestheticized. He skillfully made an artless performance. He translated prose into the language of theatrical poetry, one of the most terrible pages of Russian history (war) - into the language of love, a story about death - into the language of religion, which says that the soul is immortal, and resurrection follows the crucifixion ....
Pyotr Fomenko staged, perhaps, the only performance of modern Russia, in which there is not a word about faith and God, but which one would like to call Christian, because Love is poured in it. Marina Timasheva, "The First of September"

Pyotr Naumovich Fomenko is an element, an unpredictable theatrical phenomenon, an inexplicable phenomenon. Perhaps, there was no director in modern Russia who thought more paradoxically and was able to "blow up" the situation, turning its meaning upside down. Whatever he undertook, classics or a little-known contemporary work, it was always impossible to predict what was happening on stage until the day of the premiere. Here is “One absolutely happy village”, based on the work of the undeservedly forgotten Soviet author Boris Vakhtin, at one time made a splash.

About the play "One Absolutely Happy Village"

“One Absolutely Happy Village” is a performance that has become a classic in the repertoire of the Pyotr Fomenko Workshop. Unfortunately, the director who directed it is no longer alive, and sooner or later the production will go down in history. And now - this is a unique opportunity to "touch" the work of the paradoxical genius, who has become a unique theatrical phenomenon - Pyotr Fomenko.

While working on this production, Pyotr Naumovich tried to create an atmosphere on stage as close as possible to the story described by the author. To do this, he chose the form of stage sketches, in which life, fantasy, dreams are intertwined. And, of course, all of them are united by one common theme - the beginning of a war that forever (or not forever?) Changes the life of "One absolutely happy village." In the center of events is the pregnant Polina, who, with tears, escorts her newly-made husband to the war and almost immediately receives a funeral. But he still returns to his beloved, in the form of either an angel, or a cloud, and even conducts a dialogue with her.

The premiere of the play "One Absolutely Happy Village" at the Pyotr Fomenko Workshop Theater took place on June 20, 2000. At the end of the season, he became the laureate of the international award. K.S. Stanislavsky in the nomination "Best Performance". And already in 2001 he was awarded the "Golden Mask" in the nomination "Drama - performance of a small form."

Those without whom the play "One Absolutely Happy Village" could not have happened

Despite the fact that Pyotr Naumovich Fomenko is no longer with us, his performances, and during his life he staged more than 60 of them, continue to live. In recent years, he worked only in his own theater, on the stage of which he presented to the audience "Theatrical novel (Notes of a dead man)" by M.A. Bulgakov, "Triplich" by A.S. Pushkin and other works.

The play “One absolutely happy village” became one of his most striking productions, conquering the theater stage not only in Moscow, but also in St. Petersburg and Dresden. Unexpected were not only the choice of the work taken as the basis, its interpretation, but also the cast involved. The main roles were played by Polina Agureeva and Evgeny Tsyganov. Oleg Lyubimov, Karen Badalov, Madeleine Dzhabrailova and others play with them in One Absolutely Happy Village.

How to buy tickets for the performance

Every year it becomes more and more difficult to buy tickets for the play “One Absolutely Happy Village”, in 2018 their cost reaches 20,000 rubles. Which, in general, is not surprising, because in this production the stars “came together” on stage - always a hot topic, thoughtful author's reasoning, the talent of actors and brilliant directing. But we are ready to do the almost impossible and help you. Each of our clients can count not only on the coveted tickets, but also on:

consultation of an experienced manager who will answer all your questions and help you choose the ideal option in terms of value for money;
free delivery of the order in Moscow and St. Petersburg;
discount when purchasing more than 10 tickets.

For your convenience, various payment methods are provided - by bank card, transfer and even cash upon receipt of the order.

"One Absolutely Happy Village"

“The Village” based on the story by Boris Vakhtin, like many others, I keep not only among the best of the best performances by Pyotr Fomenko. It occupies an important place in my treasury of my own theatrical upheavals, of which not a few, but not many, have accumulated over my life. The “village” there is adjacent to Vladimir Vasiliev’s Spartak, Nikolai Karachentsov’s Til, Yevgeny Kolobov’s Mary Stuart, Lev Dodin’s Untitled Play, Anatoly Efros’s Tartuffe, Comrade, Believe! Yuri Lyubimov, with "Bolero" by Maurice Béjart.

The amazing discovery of this performance is in the very fact of his life - on the stage, in the actor's living, in the paradoxical poetry of the author's language. In the kind of world the director created here - non-existent and at the same time warm, lively, authentic. "The Village" was his debt to the memory of his friend, the St. Petersburg writer Boris Vakhtin, who died early. Their relationship went through a dramatic period of breakups, but in the end, Iris Murdoch's brilliant axiom worked: "A work of art has the last laugh." The revenge of enemies and the slander of friends turned out to be powerless before what united two real artists - a writer and a director, and the performance was born in spite of censorship, slander, and ineradicable deformities of ideology.

A performance about love and about a person. That, probably, there is nothing more valuable in the world than a person. And there is nothing more precious than love.

See eternity in one moment

The vast world is in a grain of sand.

In a single handful - infinity

And the sky is in a cup of a flower.

Such is the wisdom ... So I thought when I was going to lead Tonino Guerra to the "Village". He came to Moscow, as usual, for a long time and, being a man immensely open to new things and passionately curious about the life around him, he wanted to see the "Village", which he had not had time to see before. But Fomenko knew the theater, saw "War and Peace", admired and considered Pyotr Naumovich (whom he called, slightly distorting Russian words, "Flamenco") one of our best directors along with Yu. P. Lyubimov and Anatoly Vasiliev. (Tonino Guerra, of course, was a real fragment of the Italian Renaissance, miraculously brought into modernity. They - Tonino and Peter Naumovich - came into my life almost simultaneously in August 2006. And they left after each other in 2012 ... And so they stand nearby in my memory are two titans, the two dearest people ...) While Tonino and Laura and I were driving from their house on the Red Gate to the Fomenko Theater on Kutuzovsky Prospekt, I, as best I could, interfering with Russian and Italian words, described almost that " lost the play. I was sure that the aesthetics of "The Village" is precisely that seemingly naive, poetic, metaphorical and sincere theater, the expressiveness of which is such that words are sometimes unnecessary. That is, of course, the language of Boris Vakhtin is unique, but my confidence that the "Village" can be understood without words and is able to strike at the very heart was unshakable. Tonino, whom I dared to call my friend, always said that he “felt tenderness for a mistake” - he liked flaws in appearance, words, language - it emphasized individuality. And he also said that "one must strive to create more than banal perfection." My belief that The Village is definitely a performance for him only grew stronger. I saw how the performance began, how Tonino, sitting on a chair in the first row, leaned forward all over, some kind of internal energy arose between him and the stage and ... I forgot about him. Because the "Village" appeared in front of me in all its amazing and seemingly simple nature. And no matter how many times I watched the play before and after, I never managed to remember myself for a minute in these two hours and a little more - who am I, why, where, what is my name? The hypnosis of Pyotr Fomenko is such that you have nothing to do. And all of you - where the women in galoshes and coarse stockings, in white shirts and sundresses, sharply breaking in the lower back, walk along the footbridge, work in the field. And then Polina Agureeva with a yoke and full buckets (how does such a fragile woman do it?), coquettishly and indescribably gracefully “kicking” from her boyfriend, makes her way past Mikheev (Evgeny Tsyganov). And he, with an inimitable courageous patter, recites a monologue about a rocker that awakens such irresistible desires in a man when it presses on such women’s shoulders: “Nothing knocks me out of the saddle of balance like a rocker, exciting me unbearably.” The entire first part of the performance is a story about love, which knows no prohibitions and conventions, overcomes obstacles and carries heroes like a river carries them, in which Polina and Mikheev unite for the first time. For Pyotr Fomenko, this performance is the most sensual, full of seething passions, intoxication with human nature. And above all, a woman endowed with the unique intonations of Polina Agureeva, all-conquering femininity and alluring body heat. You can follow this woman to the ends of the earth. In order to convey the revelation of love, he needs very little - a bluish, wet canvas of the river, the heroine's bare hands, her thin ankles and wrists, her voice breaking with passion and the feeling of flying, when on the wave of passion and the flow of the river the heroes soar up and fail ...

Before my eyes was the duet of Polina Agureeva and Evgeny Tsyganov, and somewhere in the depths of emotional memory, another duet came to life - Polina Agureeva and Sergey Taramaev, the first performer of the role of Mikheev. I am very impressed by the courageous nature of Tsyganov, his strong acting personality, those manifestations of the masculine principle, to which it is impossible not to respond to a woman. He is charming, reckless, there is a special human breed in him that does not allow a man to stay at home when the war comes. But at the same time, Mikheev Taramaeva is like a “first love”. For all his subtle lyrical appearance, he was an expression of the essence of Fomenkov's flood of feelings: an uncontrollable, mischievous, simple-hearted, beautiful, obsessed person. Of course, in no village, and in no city, and in general nowhere, except in a theatrical fantasy, could he appear. And even then, thanks to the passionate desire of the director to create just such a hero.

What did Pyotr Fomenko build his “Village” from? From wooden bridges, splashes of water, rattling basins and buckets, rags, a window frame and a blockage, Polina's wedding wreath. Here the well with the crane is played by the ironic Karen Badalov in a shaggy hat. He sacredly keeps all the secrets entrusted to him, even about the pearl necklace at the bottom - a gift from the loving (he was enough for everyone) father Mikheev not to his wife, but to her sister. The well then flaunts in this necklace, and then appears in the form of an ancient sage grandfather, listening to the earth rumble from the coming invasion. And he also wove it from a strange mixture of genre scenes and poetic symbols - like the story of the Cow (who only of the actresses did not outplay this role!) Or the passage of women in the harvest, singing: “Women, back!”, “Forward!” And in the "Village" Fomenko continuously sounds music - folk motives "I believed, I believed, I knew", "Spring will not come for me" or a song from the Chelita gramophone, beloved by Pyotr Naumovich: "Ai-i-i-ai! Do not look in vain, In our village, really, there is no Other such Chelita.

For the war, other images were found on the same patch of the Green Hall of the old stage of the theater - rattling sheets of iron, in which military men in raincoats are wrapped, the acrid smoke of the Belomor, a narrow corner of the trench and a blade of grass that the soldier chews in the shelter. And that fantastic cloud-paradise where the deceased Mikheev ends up, and then his comrade poor fellow Kuropatkin (Thomas Mockus), Fomenko, together with the artist Vladimir Maximov, came up with a simple wicker trampoline hammock, where it is so convenient to lie down and watch those who remained on earth. The fact that it is natural for the heroine of the play to talk with her dead husband, argue with him, swear (and what if the twin boys are uncontrollable?) is surprisingly accurate. Our loved ones, wherever they are, are always with us. And the image of paradise, so simple and concise, expressively characterizes the style of the theater of Pyotr Fomenko: not psychological and not realistic, supernatural, fantastic, conditional and beautiful. The theater of the poet and lyricist - open, fearlessly baring his heart and letting the audience play on the strings of his own soul “in childish playfulness”. What is the value of such a degree of frankness? What kind of heartfelt effort and what torments and doubts? But, no doubt, one can say about the creator of the "Village": "He wants to live at the cost of flour, At the cost of tedious worries. He buys the sounds of heaven, He does not take glory for nothing.

And now it is no longer love, the river, the earth, the flesh, the fierce disputes in the struggle for primacy between Polina and Mikheev, greedily and passionately in love. Not witty passages in the replicas of fellow villagers, not funny details in the behavior of the inhabitants of the village, through each of which a Fomenkovian smile appears. What is it - war - in the performance of Pyotr Fomenko? Stooping Polina with dark circles under her eyes, a funeral, harassment by the brigadier and the arrival of a captured German Franz (Ilya Lyubimov) to help with the housework. And suddenly, in this pain, unrelenting longing and the almost physical presence of the murdered husband, another love is born - just, like a coincidence, the destiny from above and the blessing of the departed. The incredible courage of the director is that in his poetic and, despite the abundance of everyday touches, translucent performance, he introduced, sensitively following the author of the story Boris Vakhtin, the theme of this forbidden love. An “unpopular” and for many unacceptable story about the love of a Russian woman who lost her husband in this terrible war, for a man who fought on the side of the enemy. But for Pyotr Fomenko, love cannot be a mistake, it cannot be a betrayal. Love is always right. He believed in it - and not only in the theater. Therefore, nothing is explained in the performance, nothing is shown or commented on.

The viewer’s imagination is connected to theatrical reality, and it never occurs to anyone to ask why Polina changed the padded jacket for a white shawl with silk tassels, why the women sing the song “My dear at the front, he fights not alone” in polyphony, and why the nervous, handsome Franz brings a gramophone and starts a record with the song "Lily Marlene" in a raucous performance by Marlene Dietrich. And he himself, in a broken voice, struggling to cope with his interrupted breathing, translates the words of the song - a little wrong, but in fact amazingly accurate: “In front of the barracks, in front of the big gate, there was a lantern and still stands ... From a quiet place, from the depths of the Earth, as if in a dream, I will rise, in love with you, like a dog ... When the evening fog swirls, who will stand with you under the lantern? With you, Lily Marlene ... ”I don’t know more precise words about love, which is stronger than death. And the best theatrical finale in life. And I don’t know if there is another performance in the world that can evoke such feelings. Not even feelings, but passions, because he was made by a passionate person, the owner of a brave heart, accommodating both pain and happiness.

And of course, all this can be told without words - in the language of images and emotions. Simple and comprehensive, wise and main. How happy I was that Tonino Guerra, poet and storyteller, neorealist and visionary, Oscar winner and peasant from Sant'Arcangelo, who himself was in German captivity during the Second World War, confirmed my guess: “Natasha, I understood everything. This my theater ... "They talked about this after the performance with the actors and the author of the performance, when they all gathered together in an empty hall ...

... The white clothes - shirts and underpants - of the dead, fluttering moths on the wires in the hands of the artists ("children's" theater - naive and touching) and the play of the artistic whistle of the Nightingale Tango - this is how the dead come to the living at the end of the performance. Because in One Absolutely Happy Village, everyone is together. And that doesn't happen. Although…

2007

This text is an introductory piece. From the book Five portraits author Orzhehovskaya Faina Markovna

LUCKY CARD

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author

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From the book Memory of a Dream [Poems and Translations] author Puchkova Elena Olegovna

“One novelty; Yes, only one…” One novelty; yes, only one is found behind the rows of books, is embarrassed, treated kindly by you, and denies that she is, and her lot. But the desired country tells us books, things, everyday life is surrounded by their happiness, they soften the lines between

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About the play "One Absolutely Happy Village"

Those without whom the play "One Absolutely Happy Village" could not have happened

How to buy tickets for the performance

consultation of an experienced manager who will answer all your questions and help you choose the ideal option in terms of value for money;
free delivery of the order in Moscow and St. Petersburg;
discount when purchasing more than 10 tickets.

For your convenience, various payment methods are provided - by bank card, transfer and even cash upon receipt of the order.