Federal State Cultural Institution `A.S.Pushkin (Alexandrinsky) Russian State Academic Drama Theatre`Federal State Cultural Institution `A.S.Pushkin (Alexandrinsky) Russian State Academic Drama Theatre`Federal State Cultural Institution `A.S.Pushkin (Alexandrinsky) Russian State Academic Drama Theatre`


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Repertoire / Main Stage / THE RAVEN (16+)

Author(s): Carlo Gozzi Director: Nickolay Roshchin
The performance was produced after Carlo Gozzis play of the same name
Translation: M. Lozinsky
Production, stage design, stage version of the text: Nickolay Roshchin
Music and sound design: Ivan VOLKOV
Costumes, masks, and property design: Andrey KALININ, Ekaterina KOPTYAYEVA, Nickolay Roshchin
Light designer: Artyom PRIKHODOV 
Sound Director: Kirill SHIROBOKOV
Assistant Director: Andrey KALININ, Ekaterina KIRT
Assistant producers: Yelena BORUNOVA, Sofya MATVEYEVA

The literature basis of The Raven is a fiaba, a theater fairy tale with a tragicomic story, by Carlo Gozzi.  The story of The Raven (II Corvo, 1762) on the Russian stage had started in the 20th century after Mikhail Lozinskys translation had appeared.  This is the first production of the play at the Alexandrinsky Theater.   However, this is not the first N. Roshchins job in Gozzis playwriting.  In 2011, he had produced The Raven on the stage of the A.R.T.O Theater; in his performance, he had intentionally denied the festive style of the del arte comedy theater.  One of the best Gozzis productions on the Russian dramatic stage was The Stag King (RAMT, Moscow, 2011).  For this job, Nickolay Roshchin was honored with the Smoktunovsky Prize and the Award of the Moscow Critics Association. 

"Having given up the carnival festivity, improvisations, and the rest of pseudo-Italianism in my Gozzi productions, I am focusing on the schematic character of his plays in which, if they had been properly cleared of all sorts of second-rate properties, one can see, among other things, the absurdist nature of his creativity. Count Gozzis fiabas impress with their multifacetedness and freedom; I believe he is an absolute radical in playwriting.   In this sense, the dialogue with my previous jobs, including those on the New Stage, is going on.  It is always going on, and this is a continual transformation of the nature of absurdist theater to which I feel a special attraction, even if in this case it is appareled into a strict storyline with fantastic events and ardent passions. Carlo Gozzis dramas had been initially created against social and, using modern terminology, new- drama Goldonis plays.  Such attempts to get away for instantaneous and superficial actuality in the staging ideas and the desire to create a pure theater, not based on contemporary earthbound, political, and ideological rationale, is close to my understanding of the nature of the stage truth and quality of its artistic content.  Nickolay Roshchin 


Norando - Peoples Artist of Russia Victor SMIRNOV
Jennaro - Tikhon ZHIZNEVSKY
Millo -     Valentin ZAKHAROV

                Alexander POLAMISHEV
Pantalona - Distinguished Artist of Russia Yelena NEMZER
Armillas Maid, Headless Ghost - Polina TEPLYAKOVA
Ministers - Alexey PANICHEV, Sergey  YELIKOV, Dmitry BELOV 
Impostor -Alisa GORSHKOVA

MUSICIANS: Timofey GAVRILOV (drums), Inna ANDREYEVA (keyboard), Dmitry ZOTIN (bass horn), Guivi ???????? (horn), Alexander SHCHERBAKOV (trumpet).

The performance goes with no intermission

The performance was created with financial support of the RF Ministry of Culture and the Northwest Bank of Sperbank, Russia

Video clips for the performance:


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