The Tempest by William Shakespeare Уильямa Шекспирa Буря www.cheekbyjowl.com The Tempest by William Shakespeare Уильямa Шекспирa Б у р я www.cheekbyjowl.com The Tempest 2011 Буря 2011 Welcome to The Tempest! Добро пожаловать на спектакль «Буря»! This production would never have been Этому спектаклю не суждено было бы possible without our indefatigable producer случиться без участия Валерия Шадрина, Valery Shadrin and his dedicated team at the нашего неутомимого продюсера Chekhov International Festival in Moscow. Междунароного театрального фестиваля This is our fourth production with our им.Ф.П.Чехова, и его самоотверженной Russian counterpart to Cheek by Jowl and команды. Это четвертая постановка труппы we are honoured to continue working with «Чик бай Джаул» в сотрудничестве с русским such a talented and committed ensemble. партнером, и для нас большая честь работать с таким талантливым и преданным делу We are extremely grateful for the сплоченным коллективом. encouragement and commitment of all the teams at the Warwick Arts Centre, the Мы также бесконечно благодарны всем Oxford Playhouse, the Nuffield Theatre сотрудникам Центра искусств Варвика, and at the Barbican who have worked Оксфордcкого театра, театра Нафилда и so hard to bring this tour together. Центра искусств Барбикан, которые оказали нам помощь и поддержку, работая не Finally, thank you to Arts Council England покладая рук, для того чтобы эти гастроли for their continuing support of our UK work. состоялись. Enjoy the show! И, наконец, спасибо Художественному Совету Англии за ту постоянную поддержку, которую Declan Donnellan and Nick Ormerod они оказывают нам в Великобритании. Хорошего просмотра! Declan Donnellan and Nick Ormerod Igor Yasulovich The Tempest 2011 Буря 2011 Welcome to The Tempest! Добро пожаловать на спектакль «Буря»! This production would never have been Этому спектаклю не суждено было бы случиться possible without our indefatigable без участия Валерия Шадрина, нашего producer Valery Shadrin and his неутомимого продюсера Междунароного dedicated team at the Chekhov театрального фестиваля им.Ф.П.Чехова, и его International Festival in Moscow. This is самоотверженной команды. Это четвертая our fourth production with our Russian постановка труппы «Чик бай Джаул» в counterpart to Cheek by Jowl and we are сотрудничестве с русским партнером, и для нас honoured to continue working with such большая честь работать с таким талантливым a talented and committed ensemble. и преданным делу сплоченным коллективом. It is a privilege to bring this production into Мы с большим удовольствием представляем the Silk Street Theatre. We are extremely нашу постановку на сцене театра Silk Street grateful to our friends at the Barbican for Theatre. Мы бесконечно благодарны нашим their constant encouragement and друзьям из центра искусств Барбикан за то, commitment to us in this, our sixth year as что на протяжении шести лет нашего участия Artistic Associates at the Barbican. We are в Художественной Ассоциации центра они nurtured by the warmth and enthusiasm of оказывают нам постоянную поддержку и Toni Racklin, Malin Forbes and their team. демонстрируют верность нашему делу. Нас вдохновляет доброе отношение и энтузиазм Finally, thank you to Arts Council England Тони Раклин и Малин Форбс и их команды. for their continuing support of our UK work. И, наконец, спасибо Художественному Совету Enjoy the show! Англии за ту постоянную поддержку, которую они оказывают нам в Великобритании. Declan Donnellan and Nick Ormerod Хорошего просмотра! Declan Donnellan and Nick Ormerod Igor Yasulovich Hell is empty and all the devils are here. Act I, scene ii Alexander Lenkov and Evgeny Samarin The Tempest by William Shakespeare Уильямa Шекспирa Буря The Company Choreographer Konstantin Mishin Assistant Choreographer Irina Kashuba Prospero, the usurped Duke of Milan Igor Yasulovich Declan Donnellan’s Interpreter and Literary Consultant Anya Kolesnikova Miranda, Prospero’s daughter Anya Khalilulina Costume Design Assistant Natalia Vedeneeva Ariel, a spirit Andrey Kuzichev Stage Manager Olga Vasilevskaya Caliban, enslaved by Prospero Alexander Feklistov Company Manager Olga Sharapova Alonso, the King of Naples Mikhail Zhigalov Technical Director Vladimir Kizeev Sebastian, Alonso’s brother Pavel Kuzmin Light Sergey Timchenko Antonio, Prospero’s brother, the usurping Duke of Milan Evgeny Samarin Sound Valery Antonov Ferdinand, Alonso’s son, Prince of Naples Yan Ilves Make-up Olga Kazakova Gonzalo, a Counsellor Alexander Lenkov Props Larisa Abashkina Trinculo Ilya Iliin Costumes Natalia Vedeneeva Stephano Sergey Koleshnya Assistant Technical Manager Georgi Siprashvili Boatswain Gela Meskhi UK Technical Director Simon Bourne Master of the ship Maxim Onishchenko UK Technical Interpreter Martin Taylor Francisco Vadim Norshteyn Saxophone coach Dmitry Sarasek Adrian Sergey Zaytsev Surtitles Anya Kolesnikova Tour Manager Anya Krasnova Other parts played by the Company Production Photography Johan Persson Director Declan Donnellan General Producer Valery Shadrin Designer Nick Ormerod Lighting Designer Kristina Hjelm Chekhov International Theatre Festival (Moscow); Theatre Les Gemeaux (Paris); Music Dmitry Volkov In cooperation with Cheek by Jowl (London); Music Arrangement Maria Barskaya Russia – France - Great Britain Assistant Director Kirill Sbitnev The Tempest was first performed on 26th January 2011 at Théâtre Les Gemeaux, Sceaux, Paris. We are acting in a play we have never read and never seen, whose plot we don’t know, whose existence we can only glimpse, whose beginning and Alexander Feklistov end are beyond our present imagination and conception. R.D. Laing Andrey Kuzichev and Alexander Feklistov Yan Ilves Yan Evgeny Samarin, Mikhail Zhigalov, Pavel Kuzmin O brave new world! That has such people in’t! Act V, scene i Anya Khalilulina do the best you can to make the present production a success – don’t spoil the entire play just because you happen to think of another one that you’d enjoy Evgeny Samarin rather more. The same rule applies to politics and life at Court. If you can’t completely eradicate wrong ideas, or deal with inveterate vices as effectively as you could wish, that’s no reason for turning your back on public life altogether. You wouldn’t Ilya Iliin abandon ship in a storm just because you couldn’t control the winds. Thomas More, Utopia Yan Ilves Gela Meshki That is no country for old men. The young O sages standing in God’s holy fire In one another’s arms, birds in the trees As in the gold mosaic of a wall, – Those dying generations - at their song, Come from the holy fire, perne in a gyre, The salmon-falls, the mackerel-crowded seas, And be the singing-masters of my soul. Fish, flesh, or fowl, commend all summer long Consume my heart away; sick with desire Whatever is begotten, born, and dies. And fastened to a dying animal Caught in that sensual music all neglect It knows not what it is; and gather me Monuments of unageing intellect. Into the artifice of eternity. An aged man is but a paltry thing, Once out of nature I shall never take A tattered coat upon a stick, unless My bodily form from any natural thing, Soul clap its hands and sing, and louder sing But such a form as Grecian goldsmiths make For every tatter in its mortal dress, Of hammered gold and gold enamelling Nor is there singing school but studying To keep a drowsy Emperor awake; Monuments of its own magnificence; Or set upon a golden bough to sing And therefore I have sailed the seas and come To lords and ladies of Byzantium To the holy city of Byzantium. Of what is past, or passing, or to come. W.B. Yeats, Sailing to Byzantium, 1927 Igor Yasulovich Maxim Onishchenko Vadim Norshteyn Sergey Zaytsev Be not afeard; the isle is full of noises, Sounds and sweet airs, that give delight and hurt not. Sometimes a thousand twangling instruments Will hum about mine ears, and sometime voices That, if I then had waked after long sleep, Will make me sleep again: and then, in dreaming, The clouds methought would open and show riches Ready to drop upon me that, when I waked, I cried to dream again. Act III, scene ii Alexander Feklistov The Tempest by Gordon McMullan 2011 is the quatercentenary of The Tempest at the Blackfriars – and requiring and it deserves its moment. The play’s first Shakespeare to rethink his writing for new recorded performance took place on dimensions, new lighting conditions – Hallowmas Night 1611 when Shakespeare’s candles, not the sky – and new musical company, the King’s Men, played it before possibilities. And it was into the Blackfriars James I (a monarch who liked the theatre that The Tempest first crashed in early far more than his predecessor Elizabeth, 1611 with its explosive opening storm. whatever modern myth might claim to the contrary), but it had been playing from The Tempest is a mythical sort of play – earlier in the year in the company’s own it creates myths and myths are created for theatres. This was a golden age for the it. Usually, with Shakespeare, we know the King’s Company: they had been under source for the play: he was the world’s finest royal patronage for eight years and had story thief. But we don’t have a source for the a magnificent backlist of plays by story of The Tempest: he may actually have Shakespeare and others. Moreover, a couple made this one up himself. This has tended of years earlier they had expanded their to make critics imagine the play as personal, scope by acquiring a second playhouse in as a play in which we might locate addition to the Globe, the open-air