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also Edinburgh Festival Total Theatre award. Theatre lovers know Moguchy as the real expert for theatre on city squares and streets. Someone saw thè pyromaniac performance Orlando Furioso in different parts ofthe world, someone listened to thè opera Boris Godunov on the Red Square, led by conductor Georgiev, which Moguchy adapted specially for that occasion.Those who have not seen any ofthat, however, have probably heard and remembered the last name, Moguchy (meaning "forceful"...). And, of course, it is wonderful that thè carrier ofthat name is, with his body, appropriate to it: stature, height, mustache, beard, great strength, all in all - the real llya Muromec. Moguchy faced a complicated task to "play out" the unique literary language of Sasha Sokolov - and it is obvious that language is the hero of each one ofthe three novéis by this author, whilefor each novel a new hero is being found, new language. Reading ofthe text Between Dog and Wolf requires cultural "baggage"... and the knowledge ofthe Old Russian lexicon... Sokolov's novéis, even during the reading, and then during their stage adaptation, require active participation - from the reader, director, spectator, Moguchy suggests that we play artistic charades. In the Supplement, on the curtain there is a video projection of a family. With thè help of computer editing, the husband nods rhythmically, the wife strokes her swollen pregnant belly. Flemish painter Jan Van Eyck's painting Portrait ofthe Arnolfinis was offered with a purpose. Moguchy, who read too many ironie text in the Western press about the incredible resemblance ofthe husband Arnolfini with Vladimir Putin (and the resemblance is really incredible), suggests us to play"at the other side ofthe mirrar" and to accept the portrait as a door between the world of 1434 and that of 2004. But he doesn't stop at that.The time machine in this performance is operating atfull capadty: according to the comments of Sokolov himseif, thè action ofthe novel, although happening on Volga, among other places (Itil is thè old name of Volga), at the same time is happening within the painting of Peter Paul Breugel the Eider T he Hunters in thè Snow (1565). Countryside ice rink, silhouettes on skates, fierce winter (the novel begins exactly with the description ofthe painting). The image is animated and serves as a background ofthe scene (van Eyck's curtain will draw attention to itself during the climax and will be a reflection of unbounded echo of time). The feeling of unreliability of existence. Drabness ofthe imprisoned mind, transience of time and ontologica! uncertainty of place - those are the characters in the performance. Probably, oniy through the state of eternai intoxication, dark shadows, the set design a la marche des pusec, flee market, sad Russian songs, musical avant-garde of Leonid Fyodorov, soft Flemish colors, theatre can convey the state "between dog and wolf"-those before-dawn hours when "nothing from the world around us hasn't acquired its intrinsic specificity". The designated hero Hija, according to the characteristics of his occupations - hunter, but actually a vagabond, martyr, wandering piigrim, that Hija - loves! he loves life all the way through, he loves it to death and beyond it, the girl Orina, a road wh..e who, falling from one sin into the next, transforms into the martyr Marija and dies of bleeding. Because of her Hija falls under the wheels of express train and becomes an invalid, and unnoticeably withdraws leaving the roomforthe writer's alter-ego - Pushkin, Brodski, Flomer, ArsenyTarkovski, which are all emulated by Sokolov in poeticsections ofthe novel. For the stage Hija, Moguchy provides a double - Pushkin (guided by Pushkin's epitaph: "I love friendly He / glass of winefrom a friend / in that time that is called / between dog and wolves"). And exactly in a tuxedo and white pants Hija dies, covered by flaky snow, on a black piano. For a grandiose thought it is a bit primitive, but the idea of a performance within two pictures "compénsales" for the tastelessness ofthe ending. Willful and premature inclusión of l iiya in the form of Pushkin into the pantheon of dead geniuses, could have been considerad an act of insolence, if it hadn't been for the fact that, thanks to the Imagination ofthe writer and the director, everything happens in Heaven and the group of invaiids in the Flemish "Priitiliste" is, actually, a personal model of Heaven. Then the starting ofthe time machine in the performance becomes justified, because it is said in the Holy Scripture that the skies will roll themseives like a serali. If time and spaces can be"scrolled"at god's will, then people and events, which seem to belong to different time periods, are divided only by the thickness ofthe sheepskin. Thanks to the performance we can travel following the traces of wormholes in the old books. Tosend a President into the 15th Century, into the painting ofthe Flemish painter van Eyck, while we occupy the space on the canvas of Breugel the Eider and enjoy life, meeting our managers only on significant international art exhibitions. It is incomprehensible that such an unusual and funny performance was given to the National Theatre in Nice, and not to Russian University Theatre "with pillars". Many would come. INTERVIEW - ANDREY MOGUCHY You are planning a trilogy based on the work of Sasha Sokolov? Maybe. I didn't pian that while working on The School for Pools. But now, after having directed the second novel Between Dog and Wolf, it would be logicai to stage the third one as well - Palisandria. (When will that happen, I don't know - maybe in a year, maybe in ten years). DidSasha Sokolovseeyour School for Fools? No. 1 cannot meet him, and that is a special mystical problem. I was provided with phone numbers, I metfriends, I hired royalty agencies from Moscow and Saint Petersburg... In the Moscow agency I was told that this writer had died, that he didn't leave any heirs and that nobody owned the copyright.