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THE RAVEN
16+
Main Stage
2 h.
Without intermission

Coming soon

See

playbill

18th April
Sunday
19:00
Buy a ticket
Choose your seat
Cancel
25th May
Tuesday
19:00
Buy a ticket
Choose your seat
Cancel
NIKOLAY ROSHCHIN
Director, Scenery Designer, scenic rendering of the text

IVAN VOLKOV
Composer, background accidental music and sounds

ELENA BORUNOVA, SOFIA MATVEEVA
Assistant Directors

ANDREY KALININ, EKATERINA KOPTYAEVA, NIKOLAY ROSHCHIN
Masks, costumes, stage property

ARTYOM PRIKHODOV
Lighting Designer

KIRILL SHIROBOKOV
Sound Producer

ANDEY KALININ, EKATERINA KIRT
Assistant Directors

VICTOR SMIRNOV
Norando

TIKHON ZHIZNEVSKY
Gennaro

VALENTIN ZAKHAROV/ALEXANDER POLAMISHEV
Millon

ELENA NEMZER
Pantalona

POLINA TEPLYAKOVA
Armilla, Armilla’s Maid, the Headless Apparition, The Impostor



DMITRY BELOV, VALENTIN ZAKHAROV, ALEXEI PANICHEV, ALEXANDER POLAMISHEV, SERGEI SIDORENKO, POLINA TEPLYAKOVA
Ministers

TIMOFEY GAVRILOV, INNA ANDREYEVA, DMITRY ZOTIN, VLADIMIR SHASHKOV, ALEXANDER SHCHERBAKOV
Musicians

This is not Nikolay Roshchin’s first attempt to stage a play by Gozzi. Back in 2011 he staged The Raven at the A.R.T.O. theatre, turning down the festive design characteristic of commedia dell’arte purposefully. In 2001 Nikolay Roshchin put on the play The Stag King (Russian Academic Youth Theatre, Moscow, 2001) which was recognized as one of the best Gozzi’s performances on the Russian stage. This rendering brought the director the Smoktunovsky Award and the Moscow Critics’ Association Award. “Having rejected the notion of carnival-ness, improvisation and the rest of pseudo-Italian mush in my renderings of Gozzi, I focus on the schematic structure of his plays, in which, when they have been purged of all kinds of peripheral frillings, one can discern among other things the absurdist nature of his creativity. Count Gozzi’s fiabas are impressively multi-faceted and free, I regard him as the drama’s absolute radical. Considering this, I evolve my dialogue with my previous renderings including the play on the New Stage. It is being evolved continuously, it is an ever-going transformation of the nature of the absurdist theatre, for which I cherish a special fondness, even if in this case it is dressed in a strict storyline replete with fantastic events and burning passions.

Carlo Gozzi’s dramas were initially composed athwart to Goldoni’s social plays, which in the modern language would be termed as “neodramatic.” Such attempts at leaving behind superficial and transitory significance in renderings and at creating “pure theatre,” divorced from modern routine-life, political and ideological motifs, come very close to my understanding of the nature of stage truth and quality of its artistic content.”

Nikolay Roshchin


Premiered on September 12, 2015

Media about the

Having sidestepped the socially-critical, documentary-minded theatre, Roshchin also turned his back on the Vakhtangovsky-style, Italian-carnival-style Gozzi, bringing back the German romanticists’ love for the 18th-century Venetian as well as his links to Calderon’s ecstatically baroque poetry.


Alyona Karas. Much blood from nowhere

Rossiyskaya Gazeta, October 2015

As fantastic as it sounds, modern St. Petersburg is honoured to be the next venue of the endless rivalry between Gozzi and Goldoni.


The autumn cry of the raven

Saint Petersburg’s Vedomosty, September 2015

At the Alexandrinsky, they succeeded in extracting from the unembraceable bole of Italian classics a light, modern performance which in-between magic adventures seeks to resolve the everlasting moral dilemma of the choice between death and reputation, between self-preservation and integrity.


Marina Tokareva. To kill the dragon in the bedroom

Novaya Gazeta, September 2015

There are mechanical wonders galore - huge monsters, gaping wide and flapping their wings, talking heads, horses, ships, a multifunctional cement-mixer. The false wonders’ spurious origins are purposefully revealed for all to see.


Tatiana Dzhurova, Welcome to the desert of wonders

Petersburg Theatrical Journal, September 2015

16+

THE RAVEN

Main Stage

2 h.,
Without intermission

Coming soon

18th April

Sunday

19:00

25th May

Tuesday

19:00

  • NIKOLAY ROSHCHIN

    Director, Scenery Designer, scenic rendering of the text

  • IVAN VOLKOV

    Composer, background accidental music and sounds

  • ELENA BORUNOVA, SOFIA MATVEEVA

    Assistant Directors

  • ANDREY KALININ, EKATERINA KOPTYAEVA, NIKOLAI ROSHCHIN

  • Masks, costumes, stage property

    ARTYOM PRIKHODOV

  • Lighting Designer

  • KIRILL SHIROBOKOV

    Sound Producer

  • ANDEY KALININ, EKATERINA KIRT

    Assistant Directors

  • VICTOR SMIRNOV

    Norando

  • TIKHON ZHIZNEVSKY

    Gennaro

  • VALENTIN ZAKHAROV/ALEXANDER POLAMISHEV

    Millon

  • ELENA NEMZER

    Pantalona

  • POLINA TEPLYAKOVA

    Armilla, Armilla’s Maid, the Headless Apparitio

  • ALISA SHINDLOVSKAYA/POLINA TEPLYAKOVA

    The Impostor

  • DMITRY BELOV, VALENTIN ZAKHAROV, ALEXEI PANICHEV, ALEXANDER POLAMISHEV, SERGEI SIDORENKO, POLINA TEPLYAKOVA

    Ministers

  • TIMOFEY GAVRILOV, INNA ANDREYEVA, DMITRY ZOTIN, VLADIMIR SHASHKOV, ALEXANDER SHCHERBAKOV

    Musicians

This is not Nikolay Roshchin’s first attempt to stage a play by Gozzi. Back in 2011 he staged The Raven at the A.R.T.O. theatre, turning down the festive design characteristic of commedia dell’arte purposefully. In 2001 Nikolay Roshchin put on the play The Stag King (Russian Academic Youth Theatre, Moscow, 2001) which was recognized as one of the best Gozzi’s performances on the Russian stage. This rendering brought the director the Smoktunovsky Award and the Moscow Critics’ Association Award. “Having rejected the notion of carnival-ness, improvisation and the rest of pseudo-Italian mush in my renderings of Gozzi, I focus on the schematic structure of his plays, in which, when they have been purged of all kinds of peripheral frillings, one can discern among other things the absurdist nature of his creativity. Count Gozzi’s fiabas are impressively multi-faceted and free, I regard him as the drama’s absolute radical. Considering this, I evolve my dialogue with my previous renderings including the play on the New Stage. It is being evolved continuously, it is an ever-going transformation of the nature of the absurdist theatre, for which I cherish a special fondness, even if in this case it is dressed in a strict storyline replete with fantastic events and burning passions.

Carlo Gozzi’s dramas were initially composed athwart to Goldoni’s social plays, which in the modern language would be termed as “neodramatic.” Such attempts at leaving behind superficial and transitory significance in renderings and at creating “pure theatre,” divorced from modern routine-life, political and ideological motifs, come very close to my understanding of the nature of stage truth and quality of its artistic content.”

Nikolay Roshchin


Premiered on September 12, 2015

Media about the

Having sidestepped the socially-critical, documentary-minded theatre, Roshchin also turned his back on the Vakhtangovsky-style, Italian-carnival-style Gozzi, bringing back the German romanticists’ love for the 18th-century Venetian as well as his links to Calderon’s ecstatically baroque poetry.


Alyona Karas. Much blood from nowhere

Rossiyskaya Gazeta, October 2015

“

As fantastic as it sounds, modern St. Petersburg is honoured to be the next venue of the endless rivalry between Gozzi and Goldoni.


The autumn cry of the raven

Saint Petersburg’s Vedomosty, September 2015

“

At the Alexandrinsky, they succeeded in extracting from the unembraceable bole of Italian classics a light, modern performance which in-between magic adventures seeks to resolve the everlasting moral dilemma of the choice between death and reputation, between self-preservation and integrity.


Marina Tokareva. To kill the dragon in the bedroom

Novaya Gazeta, September 2015

“

There are mechanical wonders galore - huge monsters, gaping wide and flapping their wings, talking heads, horses, ships, a multifunctional cement-mixer. The false wonders’ spurious origins are purposefully revealed for all to see.


Tatiana Dzhurova, Welcome to the desert of wonders

Petersburg Theatrical Journal, September 2015

“
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