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MASQUERADE. REMEMBRANCE OF THE FUTURE
16+

Valery Fokin’s performance based on Mikhail Lermontov’s drama Masquerade and the 1917 performance by Vsevolod Meyerhold

Main Stage
2h.
With intermission
VALERY FOKIN
Director, Author of the Performance
SEMYON PASTUKH
Scenic Designer
ALEXANDER BAKSHI
Music

NIKA VELEGZHANINOVA
Historical Costume Designer
DAMIR ISMAGILOV
Lighting Designer
IVAN BLAGODER
Musical Director, Assistant Director, Director of Music and Intonation Score

IGOR KACHAEV
Plastiс Art
GEORGY PASHIN
Assistant Artist
ELENA BORUNOVA, SOFIA MATVEEVA
Assistant Director

PYOTR SEMAK
Evgeny Arbenin

OLESYA SOKOLOVA
Nina, his Wife

NIKOLAI MARTON
The Stranger

VIKTOR SHURALEV
Prince Zvezdich

GALINA KARELINA
The Lady

ALISA SHIDLOVSKAYA
The Niece

IRINA LEPESHENKOVA
The Old Woman

SERGEY ELIKOV
The Doctor

ELENA GLADKOVA
The Nun

VASILISA ALEXEEVA
Nina’s Maid

EFIM RODNEV, ANATOLII SUKHAREV
Valets

VIKTOR SEMYONOVSKY / IOSIF KOSHELEVICH
The Old Man

TIMUR AKSHENTSEV, VLADIMIR MALIKOV, ANNA STEPANOVA, IVAN SUPRUN, LUBOV SHTARK, MAKSIM YAKOVLEV
Choir

VASILISA ALEXEEVA, ELENA ZIMINA, OLESYA SOKOLOVA, ALISA SHIDLOVSKAYA, NIKITA BARSUKOV, ALEKSEI DVOEGLAZOV, NIKOLAI BELIN, DMITRY BELOV, IVAN EFREMOV, ANDREY MATYUKOV, ALEXANDER MITSKEVICH, SERGEY SIDORENKO, VALERY STEPANOV
Masks

EVGENIYA KADOCHNIKOVA, ANDREI OGORODNIKOV, ANTON POPOV, ALEKSANDER MORIN, VLADIMIR SHASHKOV
Musicians

The performance was the winner of the GOLDEN MASK Russian National Theatre Award in the Best Artist’s Work (Semyon Pastukh, Scenic Design) and Best Supporting Actor (Nikolai Marton as the Stranger) categories.

This large-scale project created by the Alexandrinsky Theatre Artistic Director, Valery Fokin, was the opening event at the 8th International Theatre Festival, which was also the year of Mikhail Lermontov’s 200th anniversary.

The most important goal of the performance was to create a scenic design which would accumulate the experience of the legendary Vsevolod Meyerhold’s nearly century old performance, given on the Emperor’s Stage of the Alexandrinsky Theatre in February 1917. By recreating the visual images and staging motifs of Meyerhold’s original script, reconstructing the authentic scenic design, music and rhythm to the smallest detail, the theatre offers the modern viewer a unique time-travelling opportunity.

Modern artistic and high-tech theatre methods make it possible to recreate one of the most excellent and balanced performances of the past in all its depth and beautiful detail. One of the important details was added by the unique collection of costumes and scenic props, recreated from A.Y. Golovin’s sketches for the original 1917 Masquerade performance and thus given a new life.

In Masquerade. Remembrance of the Future, historical research of the great early 20th century performance goes hand in hand with deep insight into the problems of today. Masquerade’s text, as it was uttered by the 1917 performance characters, is now spoken by modern actors. The 1917 Arbenin played by the great Alexandrinsky Theatre actor Yury Yuriev and the 21st century Arbenin both say the lines written by a twenty-six-year-old 19th century poet. And they still ring true. It is impossible to escape the specific trepidation that modern people feel as epochs are about to succeed each other…

The performance premiered on September 19th, 2014

Media about the

A concept of a spiritualistic séance performance is a fascinating one. Meyerhold’s legendary performance comes to life, bringing back the memory of the first Alexandrinsky Theatre Masquerade, starring the duet of Karatygin and Chitau as Arbenin and Nina.


Olga Egoshina. At the Mouth of the River of Oblivion – the Neva

Novye Izvestiya, September 2014

The reconstruction is not limited to a living museum.  The most significant – and perilous –
part of the project lies in attempting a literal, life scale recreation of Meyerhold’s performance. Not only the staging, but the voice intonation of the characters was carefully restored using authentic stage instructions, handwritten notes, and the director’s own papers.


Liliya Schitenburg, Dancing with Death

Sankt-Petersburgskie Vedomosty, October 2014

Remembrance of the Future is a splendid artistic event. There is a need for deeper understanding, discovering new parallels and analyzing possible outcomes. If the public joins the theatre in the search, it will be taking part in a gripping detective experiment.


Evgeny Sokolinsky. Forward to Yuriev

Strastnoy Boulevard, 2014. #3-173

…the director’s architectonics was sound throughout the play, which set the whole grand mechanism into motion, and a story was born. Not a romantic 19th century Othello story, but a tragic parable of a man whose feelings and emotions are so deep by nature that he can only find a single party worthy of his conversation.


Zhanna Zaretskaya I am a God or else I’m Nothing… Notes on Fokin-Meyerhold’s Masquerade

Fontanka.ru, February 2015

The Alexandriysky Theatre’s Masquerade will delight the educated reader, who is keen on solving theatrical puzzles and using their imagination. There will be a special call for the latter, since the performance is a double and even a triple memory.

Svetlana Naborschikova. Masquerade in the Alexandriysky Museum

Izvestiya, April 2016

1. Curtains up, shoot! How theater survived the 1917 Revolution amid gunfire // Russia beyond the headlines. 27.11.2017

16+

MASQUERADE. REMEMBRANCE OF THE FUTURE

Valery Fokin’s performance based on Mikhail Lermontov’s drama Masquerade and the 1917 performance by Vsevolod Meyerhold

Main Stage

2h.,
With intermission

  • VALERY FOKIN

    Director, Author of the Performance

  • SEMYON PASTUKH

    Scenic Designer

  • ALEXANDER BAKSHI

    Music

  • NIKA VELEGZHANINOVA

    Historical Costume Designer

  • DAMIR ISMAGILOV

    Lighting Designer

  • IVAN BLAGODER

    Musical Director, Assistant Director, Director of Music and Intonation Score

  • IGOR KACHAEV

    Plastiс Art

  • GEORGY PASHIN

    Assistant Artist

  • ELENA BORUNOVA

    Assistant Director

  • PYOTR SEMAK 

    Evgeny Arbenin

  • OLESYA SOKOLOVA

    Nina, his Wife

  • NIKOLAI MARTON

    The Stranger

  • VIKTOR SHURALEV

    Prince Zvezdich

  • GALINA KARELINA

    The Lady

  • ALISA SHIDLOVSKAYA

    The Niece

  • IRINA LEPESHENKOVA

    The Old Woman

  • SERGEY ELIKOV

    The Doctor

  • ELENA GLADKOVA

    The Nun

  • VASILISA ALEXEEVA

    Nina’s Maid

  • VADIM NIKITIN

    The Valet

  • VIKTOR SEMYONOVSKY / IOSIF KOSHELEVICH

    The Old Man

  • TIMUR AKSHENTSEV, VLADIMIR MALIKOV, ANNA STEPANOVA, IVAN SUPRUN, LUBOV SHTARK, MAKSIM YAKOVLEV

    Choir

  • VASILISA ALEXEEVA, ELENA ZIMINA, OLESYA SOKOLOVA, ALISA SHIDLOVSKAYA, NIKITA BARSUKOV, ALEKSEI DVOEGLAZOV, NIKOLAI BELIN, DMITRY BELOV, IVAN EFREMOV, ANDREY MATYUKOV, ALEXANDER MITSKEVICH, SERGEY SIDORENKO, VALERY STEPANOV

    Masks

  • EVGENIYA KADOCHNIKOVA, ANDREI OGORODNIKOV, ANTON POPOV, ALEKSANDER MORIN, VLADIMIR SHASHKOV

    Musicians

The performance was the winner of the GOLDEN MASK Russian National Theatre Award in the Best Artist’s Work (Semyon Pastukh, Scenic Design) and Best Supporting Actor (Nikolai Marton as the Stranger) categories.

This large-scale project created by the Alexandrinsky Theatre Artistic Director, Valery Fokin, was the opening event at the 8th International Theatre Festival, which was also the year of Mikhail Lermontov’s 200th anniversary.

The most important goal of the performance was to create a scenic design which would accumulate the experience of the legendary Vsevolod Meyerhold’s nearly century old performance, given on the Emperor’s Stage of the Alexandrinsky Theatre in February 1917. By recreating the visual images and staging motifs of Meyerhold’s original script, reconstructing the authentic scenic design, music and rhythm to the smallest detail, the theatre offers the modern viewer a unique time-travelling opportunity.

Modern artistic and high-tech theatre methods make it possible to recreate one of the most excellent and balanced performances of the past in all its depth and beautiful detail. One of the important details was added by the unique collection of costumes and scenic props, recreated from A.Y. Golovin’s sketches for the original 1917 Masquerade performance and thus given a new life.

In Masquerade. Remembrance of the Future, historical research of the great early 20th century performance goes hand in hand with deep insight into the problems of today. Masquerade’s text, as it was uttered by the 1917 performance characters, is now spoken by modern actors. The 1917 Arbenin played by the great Alexandrinsky Theatre actor Yury Yuriev and the 21st century Arbenin both say the lines written by a twenty-six-year-old 19th century poet. And they still ring true. It is impossible to escape the specific trepidation that modern people feel as epochs are about to succeed each other…

The performance premiered on September 19th, 2014

Media about the

A concept of a spiritualistic séance performance is a fascinating one. Meyerhold’s legendary performance comes to life, bringing back the memory of the first Alexandrinsky Theatre Masquerade, starring the duet of Karatygin and Chitau as Arbenin and Nina.


Olga Egoshina. At the Mouth of the River of Oblivion – the Neva

Novye Izvestiya, September 2014

“

The reconstruction is not limited to a living museum.  The most significant – and perilous –
part of the project lies in attempting a literal, life scale recreation of Meyerhold’s performance. Not only the staging, but the voice intonation of the characters was carefully restored using authentic stage instructions, handwritten notes, and the director’s own papers.


Liliya Schitenburg, Dancing with Death

Sankt-Petersburgskie Vedomosty, October 2014

“

Remembrance of the Future is a splendid artistic event. There is a need for deeper understanding, discovering new parallels and analyzing possible outcomes. If the public joins the theatre in the search, it will be taking part in a gripping detective experiment.


Evgeny Sokolinsky. Forward to Yuriev

Strastnoy Boulevard, 2014. #3-173

“

…the director’s architectonics was sound throughout the play, which set the whole grand mechanism into motion, and a story was born. Not a romantic 19th century Othello story, but a tragic parable of a man whose feelings and emotions are so deep by nature that he can only find a single party worthy of his conversation.


Zhanna Zaretskaya I am a God or else I’m Nothing… Notes on Fokin-Meyerhold’s Masquerade

Fontanka.ru, February 2015

“

The Alexandriysky Theatre’s Masquerade will delight the educated reader, who is keen on solving theatrical puzzles and using their imagination. There will be a special call for the latter, since the performance is a double and even a triple memory.

Svetlana Naborschikova. Masquerade in the Alexandriysky Museum

Izvestiya, April 2016

“
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National Drama Theatre of Russia (Alexandrinsky Theatre)

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