The 10 hour long play or how I became a Russian major

It's a little bit strange the way I became a Russian major. A lot of seemingly unrelated variables converged and kept pushing me in that direction - Luke suggested the language to me, a major part of my freshman seminar was dedicated to the Russian intelligentsia, etc. The seminar was about Tom Stoppard and the largest unit was on his Coast of Utopia trilogy, which I finally managed to watch in full today...in Russian. It was actually a stroke of luck - the series ran as a part of the season in 2007 and was brought back for two engagements in the Golden Mask Festival. On my side of the equation, I was slow getting my break plans together and managed to buy tickets yesterday.

The series was an altogether curious experience - first, because I've never had the pleasure of enduring a 10 hour long marathon of theater (everyone should try it sometime) and second, because the text had been translated into Russian. This second effect deserves some discussion. I've seen a fair amount of awful Russian translations of English works of literature and pop culture - Quantam of Solace, Babylon 5, Stargate, Law & Order, etc. This translation was good...or at least good by my recollection of what I studied two years ago, especially considering the context - an analytical critique of Russian history - being produced in Russia. The series was immensely popular in New York and in London - and apparently somewhat of a success in Moscow too although, much of the audience wasn't terribly enthusiastic - every act brought a reduction of 2% of the audience and most comments I overheard were of the "goddamn socialism" or "ugh - art" type; admittedly the better part of the audience was enthused. But addressing the Russian intelligentsia in Russia, presents some interesting challenges - namely, not offending the intelligence of any Russian educated enough to care (by being cornily/condescendingly translated) and not offending anyone else. It speaks to the play's strength (and Stoppard's talent) that it succeeded on both counts.

Watching a play or movie in which you are expected to accept that the vernacular is a language other than the vernacular (what terrible sentence construction) - especially when the characters are supposedly multilingual. Typically, this sets up a bit of a corny preachiness in the dialogues of the characters - especially when the characters recognize the languages they speak. However, in this instance that tone is summat abated. Moreover, as a native English speaker I found a lot of the play funny when the Russians didn't and vice versa. Language is a silly thing. I also should have brought lunch and dinner...I sunk like $15 on bad food.

The play was very well done. The scene changes were interesting with thematic music and well costumed techies. The music was tasteful and not overbearing (sometimes a bit loud). The stage was immense and sparsely furnished with chairs and tables, drop down chandeliers/masts to identify indoor/outdoor/at-sea and some strange panels. The acting was solid (I particularly like Belinsky he was crazy).

All in all it was a good play...a bit long, but good. It was much more pleasant that reading the scripts. I also noticed a lot Chekhovian elements (the arrival of guests, little actually happening, rural settings, doctors, etc.) and lot more that in my readings I missed.

Anywho, last night I saw the Seagull (Chekhov) at the Maliy Theater. My seat was awful...I had to crane my neck to see and 60% of the action took place on the side of the stage that my box was on - it was impossible to get a decent view even by standing. I now understand why theater was more of a social event for those in boxes. There were some excellent effects and deliveries (a rotating stage to showcase the different rooms of the estate), but on the whole it was choppy and without cohesion - Masha's initial remarks were severely understated and Kostya's suicide...eh...it seemed like they were overacting - especially Kostya's mother (I know she's supposed to be an actress, but it seemed like some sort of diva-thing). I suppose that's what you get at a traditionalist theater.

Russian theaters are full of savages. Savages who don't turn their phones off - one guy's phone rang three times in 20 min at the end of CoU and more went off earlier and later. Savages who talk during the production. Savages who leave during the show. Savages who are at the theater to show off/appease their women. And so on.

On the whole though the audience at Stoppard was of a higher quality than of the Seagull. I think this has to do with it being a part of a respected theater festival, tickets being more expensive and the production being modern. At the Seagull it seemed like everyone was either some pronvincial/pensioner who happened to be in Moscow or a complete and unenthusiastic novice. I don't know whether this happens in the US too...and it probably does, but I dislike very much the habit of applauding after monologues or in the middle of scenes...it strikes me as coarse...and very Italian...it ruins much of the illusion...what's worse is that it seems that people are willing to engage in this behavior for a funny line, agreeable text or some other such triviality.

Anyway, today I'm going to try to grab tickets to see Ulysses (if I fail, maybe Revizor but I'll catch Ulysses in April). I expect it to be interesting and perhaps...a complete failure. We shall see...but I'm going to hit my goal of 18 hours of theater this weekend and maybe continue it into monday and tuesday if anything interesting is going on. I plan either spend next weekend in Kiev or head out on Tues or Weds and maybe get a day in in Odessa. It is fun just wandering about Moscow though.