Venetian twins performance. "Venetian Twins", the first performance without Lyubimov
The main characters are the aristocrat Tonino, a smart intellectual, brave and decisive, and the good-natured Zanetto, who is considered a simpleton thanks to his sincerity and simplicity. Separated as children and raised separately, the twin brothers are unaware of each other's existence. By force of circumstances, Tonino and Zanetto find themselves in Verona at the same time, unaware that their appearance will bring confusion into the lives and love affairs of the city’s inhabitants. Tonino is looking for his beloved Beatrice, who decided to flee Venice to unite with Tonino, and now she is waiting for him in Verona, refusing the lover Lelio who is pursuing her. The impoverished Doctor Balanzoni really hopes that his pupil Rosaura, from whom he hides the secret of her origin, will marry the naive, rich Zanetto and with a successful marriage will solve the doctor’s financial problems. Rosaura, who considers herself the daughter of Balanzoni, dreams of romantic love and can’t wait to meet her groom. Rosaura’s maid, Columbina, who promised the doctor not to tell Rosaura a family secret, in turn hopes that he will marry her to Zanetto’s servant, the merry fellow Arlecchino. And the treacherous family friend Pancrazio goes to great lengths to win Rosaura’s heart and break off her engagement to Zanetto. In a word, passions are running high!
“Where there is more theatricality and life - in court or in the theater - is unknown. Most likely, both there and there.
Giving lessons Italian language for the daughters of the French king, Carlo Goldoni increased the number of plays to 267.
And - judging by this production - they all need to be staged and reviewed.
Just for vitality, joy and fashionable “art therapy”.
The play entitled “The Beautiful Georgian Woman” is especially interesting. Why were twins chosen?
Most likely, this is one of the best.
then in this performance you can enjoy the “fourth wall” effect.
When actors communicate with the audience during a performance, and everyone, everyone, as a rule, enjoys it.
This effect is not modern, but on the contrary, the Taganka Theater was inherited from the ancient theater. And the theater takes full advantage of this legacy:
The actors shout something like “Long live Taganka”, quickly carry a tape advertising the play “Coriolanus” against the background of the general movement on stage, start communicating with a person from the audience named Seryoga
They sing “here is our Italian detachment walking together in a row”
etc.
And we like it.
I also like the actors.
They are talented and attractive at the same time, they are musical, they move well, for example, the Captain (police) practically danced his role, episodic, but effective..."
bulyukina_e
How I found out what “commedia dell’arte” is at the Taganka Theater
"...This is a performance with a large share of improvisation, in which some actors play in masks. Since the action takes place during the carnival in Verona, the masks look especially appropriate and ironic.
The performance is most like a carnival - stunning costumes, masks, Italian passions, songs, Vivaldi's music will make a holiday out of any bad summer day. But most of all I liked the interaction between the actors and the audience and the improvisation (“Stop, Vitya needs to go out…” - said to the point)...
This time I will talk about the ending, because it puzzled me and, on the whole, does not spoil all the advantages of the production. Zanetto dies after drinking poison, which was recommended to him as a means of oblivion and at the same time attracting women. He was rejected by both Rosaura and Beatrice, and he thus decided to take revenge on them. It would seem like a tragedy.
But no, everything is resolved in the best possible way and without Zanetto, everyone is happy. And such a strange plot twist, it seems to me, justifies the genre, because the twins are played by the same actor, and he could only take the bow in the role of one of the brothers. It turns out that even though the comedy is even too funny in places, it still makes you think seriously about relationships..."
catherine_catty
“Venetian Twins” or Feel like a spectator of the 18th century.
“When I was little, I, like many girls, often imagined myself as a princess or a court lady. I go out in a long dress with a train from a carriage... Or I dance at a ball... Or here’s another thing: I sit in the court theater and I watch plays by Shakespeare, Moliere or Goldoni... Well, about the carriage - you need it in tourist places. There they will ride both on horseback and in a carriage. But how much will it cost - big question. But I skated. I really wanted my childhood dream to come true. With dancing - to role-players or reenactors. But about the theater... The Hermitage Theater in St. Petersburg? Theater in the Ostankino estate? It's hard to get in auditorium small... There is another option: at the Taganka Theater Paolo Emilio Landi staged Goldoni’s play “ Venetian twins».
“What a miracle! - you say, “This author is still popular today, his plays are shown in theaters all the time.” That's how it is. But Lundy staged precisely the commedia dell'arte. With costumes from the 18th century, with all the techniques of this particular genre. Yes, the film “The Servant of Two Masters” based on the play by the same Goldoni is wonderful, I love it dearly. But it is staged in a modern manner. But the performance is not. If 300 years ago it was customary for Arlecchino and Brighella to wear masks, so they wear them. Did the actors then introduce allusions to contemporary events into the text of the play? Please, the 18th century text fits perfectly with the “Eurs”, Taganka and the telegram. Did the actors communicate with the audience? As many as you like! In general, this is a great opportunity on the theme “Feel like a spectator of the 18th century” with all the pros and without the cons (Well, there is an uncomfortable suit, unsanitary conditions, etc.) ...
Everyone played great. But I would like to specifically mention Dmitry Vysotsky, who performed the roles of Zanetto and Tonino. Yes, I understand, actors are masters of disguise. But the man, without saying a word, could show that this was the brave and smart Tonino, and this was his unlucky and narrow-minded twin brother. Silently. This is super class! ..."
ATTENTION! The deadline for booking tickets for all performances of the Taganka Theater is 30 minutes!
Carlo Goldoni
Comedy
Director - Paolo Landi
Artist - Santi Migneco
Adaptation of the play - Paolo Landi
Choreographers - Lidia Biondi, Luciano Broggi
Fencing - Konstantin Lyubimov
Choirmaster - Tatyana Zhanova
“The Venetian Twins” is a light and elegant commedia dell'arte based on the play of the same name by Carlo Goldoni, staged by Italian director Paolo Emilio Landi and artist Santi Migneco - in strict adherence to the canons of commedia dell'arte. The plot of the story is simple and straightforward - two twin brothers, unaware of each other's existence, fall in love with the same girl. In this confusion there will be laughter, tears, deceit, and, of course, a happy ending.
The performance is full of light, music, and that pure joy that only happens in childhood. For two hours, viewers will forget about the worries and bustle of everyday life in order to plunge into the world of naive children's ideas.
The performance features music by A. Vivaldi, D. Tartini, G. Handel, L. Franchisci.
Characters and performers:
Dr. Balanzoni, lawyer in Verona | Sergey Ushakov Ivan Ryzhikov |
Rosaura, the Doctor's daughter | Yulia Stozharova Anastasia Zakharova |
Pancrazio, the Doctor's friend | Sergey Trifonov Igor Larin |
Zanetto and Tonino, twin brothers | Dmitry Vysotsky Alexander Lyrchikov |
Lelio | Konstantin Lyubimov |
Beatrice, Tonino's lover | Marfa Koltsova Galina Volodina |
Florindo, Tonino's friend | Philip Kotov |
Columbine, servant in the Doctor's house | Polina Nechitailo Marina Antonova |
Brighella, servant in the Doctor's house | Alexey Grabbe |
Arlecchino, Zanetto's servant | Sergey Tsimbalenko |
Porter | Nikita Luchikhin |
Tiburzio, jeweler | Teimuraz Glonti |
Captain | Mikhail Lukin |
Hotel owner | Erwin Haase |
1st Policeman | Anton Anurov Roman Sorokin |
2nd Policeman | Alexander Margolin |
3rd Policeman | Kirill Komarov |
1st Mask | Anastasia Zakharova Alexandra Basova |
2nd Mask | Galina Volodina Marfa Koltsova |
3rd Mask | Elizaveta Vysotskaya |
4th Mask | Ekaterina Varkova Maria Akimenkova |
Monk | Erwin Haase |
Bird | Teimuraz Glonti |
Prostitute | Alexey Grabbe |
Bishop | Kirill Komarov |
Premiere:December 2011
Duration:2 hours 10 minutes
Paolo Emilio Landi (Italian: Paolo Emilio Landi) - Italian director, television journalist, professor at the University of Richmond (USA, Virginia)
Paolo Emilio Landi graduated with honors from the Faculty of Theater at the University of Rome, and worked as a television journalist in many countries on all continents, with the exception of Australia. He has been involved in documentaries and is now making documentaries for the Italian State Television. He successfully combines two areas of activity - theater and television. Fluent in several languages, including Russian, English, French.
In Russia, the creative aesthetics of Paolo Emilio Landi found fertile ground for itself, and his productions have remained in theater repertoires for many years.
His directorial debut in 1986 was the production of Tom Stoppard's play After Magritte. Real success came to Paolo Emilio Landi after the brilliant director’s version of E. Ionescu’s play “The Bald Singer” he presented.
The director returned to this work several times. He staged it in theaters in Italy, France, the USA and Russia. Paolo Landi knows how to find and show the funny in the sad and vice versa, the sad in the funny. He widely uses acting skills, brought to choreographic precision, to convey the concept. And the text in his direction is not only a plot guide, but also the most important element of the sound score of the performance.
Paolo E. Landi graduated from the University of Rome “La Sapienza” (founded in 1303), defended his dissertation at the Department of Literature in the specialty “American Literature”. The theme of his work was one of Tennessee Williams's late plays, A Game for Two. This play combines brilliant dramaturgy with original text, the images of which sometimes resemble nightmares. In his directorial work, Paolo Landi again turned to this work and staged a play based on it, the world premiere of which took place in 1989 at the Arts Festival in the city of Todi ( international festival in Umbria).
In the late 90s, Paolo Emilio Landi first came to the United States, at the Milwaukee Repertory Theater, to stage the play “The Servant of Two Masters” by C. Goldoni, which was eventually recognized as the best theatrical event of the year. A little later, his constant collaboration began with the University of Richmond (Virginia), where he was invited to give a course of lectures on theater studies and where he continued directing experiments with his students. The range of creative preferences of the director is very wide: from the classics of Italian theater (C. Goldoni, E. Scarpetta, L. Pirandello, E. de Filippo) and plays by modern English playwrights - T. Stoppard, M. Frain to the “theater of the absurd” and musicals ( Lady's Night).
The continued success of Paolo Landi's productions lies in the subtle combination of tragic and comic principles, psychologism in the spirit of Stanislavsky, and the masterful use of music, choreography and video sequences.
The day before New Year's holidays The Taganka Theater hosted the premiere of the new play “ Venetian twins" This is the first production after the resignation of Yuri Lyubimov, directed by Paolo Landi, Italian creative group artists, choreographers, stage masters and theater performers.
“The Venetian Twins” is a commedia dell’arte – a touching and funny love story with an unexpected tragic end, based on the play by the famous Italian playwright Carlo Goldoni. First of all, this is a bright and colorful performance in the spirit of the Venetian carnival and medieval theater with masks, intrigue and humor. It does not imply deep thought, but according to the director himself, it should give people joy, entertain them, and give them the opportunity to plunge into the atmosphere of children's fairy tales with good and evil heroes.
Video fragment of the play "The Venetian Twins"
On stage, a love affair unfolds between twin brothers who, by the will of fate, find themselves in the same city. Both roles are performed by one artist - Dmitry Vysotsky. Transforming either into the energetic and courageous Tonino, trying to find his beloved, or into the naive and indecisive Zanetto, who came to woo another heroine, he constantly creates confusion, as a result of which a lot of funny misunderstandings arise. Their servants are also involved in the love stories and secrets of their masters, who are also trying to find their happiness. Colorful costumes and masks complement the images conceived by the director, emphasizing the range of simple human feelings of the characters: love and jealousy, suffering, doubt, greed and revenge. The artists demonstrate excellent mastery of facial expressions and plasticity, clowning, which in its technique borders on acrobatic performances, fight with swords, fall in love and worry. The performance is not replete with long monologues of the characters, and could be quite understandable without words. This is a novelty in theater production introduced by modern Western drama. By the way, according to the reviews of the artists, when preparing the performance, Paolo Landi did not so much explain to them what to do as show them, and they understood their roles, rather, at the level of sensations. Also, the performance is perceived at the level of sensations.
Before the premiere, at a press conference, the director and leading artists involved in the production told reporters about how the preparations went, rehearsals and the performance itself. The work continued for a month and a half of continuous rehearsals of non-standard solutions and creative discoveries. The artists were interested in getting acquainted with the culture and technique of the Italian theater, trying a new acting style that was unusual for Taganka, and taking a kind of master class with a new director. They noted the “magical atmosphere” that reigned during rehearsals and the pleasure they get from playing.
Director Paolo Landi has been working with Russian theaters. This is his twenty-third production. He learned Russian on his own “on stage” and speaks it fluently. He believes that commedia dell'arte, like performing arts, is necessary for the Taganka Theater, especially now when significant changes are taking place. According to the director: “We must be able to have fun, be friends, love each other, we love the viewer and pass this love on to him, help him for two hours, while the performance lasts, to return to childhood, to feel happiness.” He believes that the comedy “The Venetian Twins” will be a success with the Russian public, and the performance will be a box office success.