The history of creation and analysis of the drama "Days of the Turbins" Bulgakov M.A. Mikhail Bulgakov Days of Turbine play in four acts Days of Turbine play theater

Bulgakov as a playwright

Today we will take a closer look at creative activity. Mikhail Afanasyevich Bulgakov- one of the most famous writers and playwrights of the last century. He was born on May 3, 1891 in Kyiv. During his life, great changes occurred in the structure of Russian society, which was reflected in many of Bulgakov's works. It is no coincidence that he is considered the heir to the best traditions of Russian classical literature, prose and dramaturgy. He gained world fame thanks to such works as "The Master and Margarita", "Heart of a Dog" and "Fatal Eggs".

Three works by Bulgakov

A special place in the writer's work is occupied by a cycle of three works: a novel "White Guard" and plays "Run" and "Days of the Turbins" based on real events. Bulgakov borrowed the idea from the memories of the emigration of his second wife, Lyubov Evgenievna Belozerskaya. Part of the novel "White Guard" was first published in the magazine "Russia" in 1925.

At the beginning of the work, the events taking place in the Turbin family are described, but gradually, through the history of one family, the life of the whole people and country is revealed, and the novel acquires a philosophical meaning. There is a story about the events of the civil war of 1918 in Kyiv, occupied by the German army. As a result of the signing of the Treaty of Brest-Litovsk, it does not fall under the control of the Bolsheviks and becomes a refuge for many Russian intellectuals and military men who flee from Bolshevik Russia.

Alexey and Nikolka Turbins, like other residents of the City, volunteer to join the defenders, and Elena, their sister, guards the house, which becomes a refuge for former officers of the Russian army. Note that it is important for Bulgakov not only to describe the revolution that took place in history, but also to convey the subjective perception of the civil war as a kind of catastrophe in which there are no winners.

The image of a social cataclysm helps to reveal the characters - someone is running, someone prefers death in battle. Some commanders, realizing the futility of resistance, send their fighters home, others actively organize resistance and perish along with their subordinates. And yet - in times of great historical turning points, people do not stop loving, believing, worrying about loved ones. But the decisions they have to make on a daily basis have a different weight.

Artwork characters:

Alexey Vasilyevich Turbin - doctor, 28 years old.
Elena Turbina-Talberg - Alexei's sister, 24 years old.
Nikolka - non-commissioned officer of the First Infantry Squad, brother of Alexei and Elena, 17 years old.
Victor Viktorovich Myshlaevsky - lieutenant, friend of the Turbin family, Alexei's friend at the Alexander Gymnasium.
Leonid Yuryevich Shervinsky - a former lieutenant of the Life Guards of the Lancers Regiment, adjutant at the headquarters of General Belorukov, a friend of the Turbin family, a friend of Alexei at the Alexander Gymnasium, a longtime admirer of Elena.
Fedor Nikolaevich Stepanov (Karas) - second lieutenant artilleryman, friend of the Turbin family, Alexei's comrade at the Alexander Gymnasium.
Nai-Tours - Colonel, commander of the unit where Nikolka serves.

Character prototypes and historical background

An important aspect is the autobiographical nature of the novel. Although the manuscripts have not been preserved, the Bulgakov scholars traced the fate of many characters and proved the almost documentary accuracy of the events described by the author. The prototypes of the main characters in the novel were a relative of the writer himself, and the decorations were the Kiev streets and his own house, in which he spent his youth.

In the center of the composition is the Turbin family. It is widely known that its main prototypes are members of Bulgakov's own family, however, for the purpose of artistic typification, Bulgakov deliberately reduced their number. In the main character, Alexei Turbina, one can recognize the author himself during the years when he was engaged in medical practice, and the prototype of Elena Talberg-Turbina, Alexei's sister, can be called Bulgakov's sister, Elena. It is also noteworthy that the maiden name of Bulgakov's grandmother is Turbina.

Another of the main characters is Lieutenant Myshlaevsky, a friend of the Turbin family. He is an officer devotedly defending his fatherland. That is why the lieutenant is enrolled in the mortar division, where he turns out to be the most trained and tough officer. According to Bulgakov scholar Ya. Yu. Tinchenko, the prototype of Myshlaevsky was a friend of the Bulgakov family, Pyotr Aleksandrovich Brzhezitsky. He was an artillery officer and participated in the same events that Myshlaevsky told about in the novel. The remaining friends of the Turbins remain faithful to their officer's honor in the novel: Stepanov-Karas and Shervinsky, as well as Colonel Nai-Tours.

The prototype of Lieutenant Shervinsky was another friend of Bulgakov - Yuri Leonidovich Gladyrevsky, an amateur singer who served (albeit not as an adjutant) in the troops of Hetman Skoropadsky, he subsequently emigrated. The prototype of Karas is believed to have been a friend of the Syngaevskys.

The three works are connected by the novel "The White Guard", which served as the basis for the play "Days of the Turbins" and several subsequent productions.

"White Guard", "Running" and "Days of the Turbins" on stage

After part of the novel was published in the Rossiya magazine, the Moscow Art Theater invited Bulgakov to write a play based on The White Guard. This is how the "Days of the Turbins" were born. In it, the main character Turbin incorporates the features of three characters from the novel "The White Guard" - Alexei Turbin himself, Colonel Malyshev and Colonel Nai-Tours. The young man in the novel is a doctor, in the play he is a colonel, although these professions are completely different. In addition, one of the heroes, Myshlaevsky, does not hide the fact that he is a professional military man, since he does not want to be in the camp of the defeated. The relatively easy victory of the Reds over the Petliurites makes a strong impression on him: “These two hundred thousand heels have been smeared with lard and are blowing at the very word “Bolsheviks”.” At the same time, Myshlaevsky does not even think about the fact that he will have to fight with his yesterday's friends and comrades in arms - for example, with Captain Studzinsky.

One of the obstacles to accurately conveying the events of the novel is censorship.

As for the play "Running", its plot was based on the story of the escape of the guards from Russia during the Civil War. It all starts in the north of Crimea, and ends in Constantinople. Bulgakov describes eight dreams. This technique is used by him to convey something unreal, something that is hard to believe. Heroes of different classes run from themselves and circumstances. But this is a Run not only from the war, but also to love, which is so lacking in the harsh years of the war...

Screen adaptations

Of course, one could look at this amazing story not only on the stage, but, ultimately, in the cinema. The screen version of the play "Running" was released in 1970 in the USSR. The script was based on the works "Running", "White Guard" and "Black Sea". The film consists of two series, the directors are A. Alov and V. Naumov.

Back in 1968, a film based on the play "Running" was shot in Yugoslavia, directed by Z. Shotra, and in 1971 in France, directed by F. Shulia.

The novel "The White Guard" served as the basis for the creation of the television series of the same name, which was released in 2011. Starring: K. Khabensky (A. Turbin), M. Porechenkov (V. Myshlaevsky), E. Dyatlov (L. Shervinsky) and others.

Another three-part television feature film, Days of the Turbins, was made in the USSR in 1976. A number of location shootings of the film were made in Kyiv (Andreevsky Spusk, Vladimirskaya Gorka, Mariinsky Palace, Sofia Square).

Bulgakov's works on stage

The stage history of Bulgakov's plays was not easy. In 1930, his works were no longer printed, the plays were removed from the theater repertoires. The plays "Running", "Zoyka's Apartment", "Crimson Island" were banned from staging, and the play "Days of the Turbins" was withdrawn from the show.

In the same year, Bulgakov wrote to his brother Nikolai in Paris about the unfavorable literary and theatrical situation for himself and his difficult financial situation. Then he sends a letter to the government of the USSR with a request to determine his fate - either to give the right to emigrate, or to provide the opportunity to work at the Moscow Art Theater. Bulgakov is called by Joseph Stalin himself, who recommends the playwright to apply with a request to enroll him in the Moscow Art Theater. However, in his speeches, Stalin agreed: "Days of the Turbins" - "An anti-Soviet thing, and Bulgakov is not ours".

In January 1932, Stalin again allowed the production of The Days of the Turbins, and before the war it was no longer banned. True, this permission did not apply to any theater, except for the Moscow Art Theater.

The performance was played before the beginning of the Great Patriotic War. During the bombing of Minsk in June 1941, when the Moscow Art Theater was on tour in Belarus, the scenery burned down.

In 1968, the director, People's Artist of the RSFSR Leonid Viktorovich Varpakhovsky, staged The Days of the Turbins again.

In 1991, The White Guard, directed by the People's Artist of the USSR Tatyana Vasilievna Doronina, returned to the stage once again. The performance was a great success with the audience. The genuine acting successes of V. V. Klementyev, T. G. Shalkovskaya, M. V. Kabanov, S. E. Gabrielyan, N. V. Penkov and V. L. Rovinsky revealed to the audience of the 1990s the drama of the revolutionary years, the tragedy of ruin and losses. The merciless cruelty of the revolutionary upheaval, general destruction and collapse broke into life.

The "White Guard" embodies nobility, honor, dignity, patriotism and awareness of one's own tragic end.

The play "Days of the Turbins" was created on the basis of M. Bulgakov's novel "The White Guard", however, in the course of work, the author was forced, given the conventions of the scene and the requirements of censorship, to compress the action and the number of characters to a minimum and abandon many of his favorite ideas and images. As in the novel, in the play Bulgakov refers to the image of the family in the tragic days of the civil war and, following Tolstoy's traditions, contrasts the chaos of the war with ordinary pictures of the life of the turbine house. The play consists of four acts and has a ring composition: the ending echoes the beginning. The events of the first three acts of Days of the Turbins refer to the winter of 1918, the fourth to the beginning of 1919. From the first act of the play, the playwright lovingly creates the image of the House, which is made up of everyday
realities that are important for the author himself: the fire in the fireplace, the clock that gently plays the minuet of Boccherini, the piano, the cream-colored curtains. From the first scene it becomes clear that in this house there is an atmosphere of warmth, friendship, attention and sympathy for each other, an atmosphere of love. The house is inhabited by Aleksey, Nikolka, Elena Turbins, but here they find a warm welcome, clean linen and a hot bath frostbitten Myshlaevsky, a friend of the house, and Zhytomyr cousin, whom no one expected, Lariosik, a poet and a touching little man. Despite the troubled times, there is a place for friends on this island of the outgoing family life. Only one Thalberg, Elena's husband, is an alien phenomenon here. He grumbles: "Not a house, but an inn." And it is the careerist Talberg who flees, leaving Elena to the mercy of fate, from this house, like a rat from a ship, fleeing from a doomed city and country.

In the parting scene between Alexei and Talberg, the main conflict of the play is outlined: between the decency, fidelity to duty and honor of the defenders of the House, representatives of the "white guard", on the one hand, and the meanness, betrayal, cowardice and selfishness of the "staff bastard", fleeing the country with a rat's pace ", with another. Alexey does not shake hands with Talberg, showing his rejection of his behavior, and is ready to answer for this in a duel of honor. So in the family line conflict is tied. The plot of a love affair also appears, which does not play a decisive role in the conflict of the play, however, the flight of Elena's husband allows her to decide her own fate on her own and later accept Shervinsky's proposal. All the men of the Turbin family, except for Lariosik,
white army officers. They are faced with a deliberately doomed attempt to defend the city from Petliura. Tragic predestination is heard in Alexei's monologue during the "last dinner of the division." He anticipates a deadly fight with the Bolsheviks,
he is indignant at the fact that the hetman did not start the formation of officer corps in time, which would have slammed not only Petlyura, but also the Bolsheviks in Moscow. And now the officers have become cafe regulars. “He is sitting in a coffee shop on Khreshchatyk, and with him all this guards staff mob.” In the division of Colonel Turbin "one hundred junkers - one hundred and twenty students, and they hold a rifle like a shovel." Anticipating his own death, Alexei nevertheless goes to defend the city (e On the rampage, but I will go! ), He cannot do otherwise. Just like other officers: Myshlaevsky, Studzinsky and his younger brother Nikolka.

War breaks into the Turbins' house, bringing chaos. The familiar world is collapsing, the favorite march to Pushkin’s poems “The Song of the Prophetic Oleg” has to be sung without “seditious” words, in the mood of people one feels brokenness, confusion, but still the first
the action ends with a lyrical scene of Elena's explanation with Shervinsky. As in: throughout the play, in this scene the tragic is successfully intertwined with the comic: the kiss of the lovers is interrupted by the drunken Lariosik's remark: "Don't kiss, otherwise I'm sick."

In the second act, the plot goes beyond the turbine house, adding the family line to the historical one. Bulgakov shows the headquarters of the hetman, where Shervinsky took up duty, the Germans taking the hetman with them, then the headquarters of the l-th cavalry division
Petliurists engaged in outright robbery. The flight of the disguised hetman, the staff officers and the commander-in-chief of the volunteer army, who left the defenders of the city without leadership, shamefully betrayed them, forces Colonel Turbin to disband the division. Timely warned by Shervinswim, Aleksey decides to take on this responsibility in order to save the lives of young volunteers: officers. The scene in the lobby of the Alexander Gymnasium is the climax for the whole play and for both
their storylines. Alexei does not immediately meet with understanding from his division. There is a commotion, someone is crying, someone is threatening the colonel with a revolver, demanding that he be arrested. Then Turbin asks the main question: “Whom do you want to protect? » There is no answer to this question. It used to be, now instead of great Russia and the army - "headquarters bastard" and the coffee army, The same on the Don, everywhere. “The white movement ... the end ... The people bore us. He is against us." In this context, the death of Alexei, who embodies the image of a noble, uncompromising, honest officer and person, is symbolic. Having dissolved the division, Turbin remains to wait for the outpost, and according to Nikolka, who did not leave his brother, despite all the threats, to wait for "death from shame", which was not long in coming. Aleksey is dying, the white movement is dying in Ukraine. Nikolka is wounded, but escaped, and he will have to inform Elena that "the commander was killed." Again, the action moves to the Turbins' house, which has suffered a tragic loss. All the officers returned, except for Alexei, and Elena, who lost her head from grief, blames them, adding to the pain of loss also a sense of guilt.
Studzinsky cannot stand these accusations and tries to shoot himself. Elena nevertheless finds the courage to abandon her words: “I said out of grief. I got confused in my head. Give me the revolver!" And the hysterical cry of Studzinsky: “No one dares to reproach me! None! None! I carried out all the orders of Colonel Turbin! - they are preparing Elena's reaction to Nikolka's last confession about the death of Alexei and her fainting. Even in unbearable grief, these people retain nobility and generosity.

The last action falls on Epiphany Christmas Eve, which came two months after the events described. “The apartment is lit. Elena and Lariosik are cleaning the Christmas tree.” Bulgakov, creating a realistic and historically verified work, for the first time violated historical chronology, postponing the departure of the Petliurites from Kyiv two weeks ahead, it was so important for him, by his own admission, to use the Christmas tree in the last action. The image of a Christmas tree shining with lights returned comfort to an orphaned house,
childhood memories, fenced off from war and chaos and, most importantly, gave hope. For some time, the world returned behind the cream curtains with its holiday (Baptism into what?), the confusion of relationships, the triumph of friendship. Lariosik declares his love to Elena, Elena and Shervinsky announce their engagement, and Thalberg unexpectedly returns.

From the point of view of the logic of character, this return is not justified: the coward Talberg could not decide on such a risky enterprise - to call in Kyiv besieged by the Reds on the road to the Don. However, in order to end the main conflict, as well as the love one, it was necessary to deal with Vladimir Robertovich completely, and in his face - with all the "staff bastard". The main accusation against him is the death of Alexei. There is no longer such indulgence for Thalberg as for friends who have done everything in their power: he is a traitor.
The Turbinsky house again gathered a warm circle of friends around the table, but Alexei is not there, and Nikolka is a cripple, outside the window the orchestra is playing “Internationale. And salute the Bolshevik guns. The future is troubling and uncertain. To sum up the writer trusts par excellence
military man Myshlaevsky and a non-military man Larnosik. Victor Myshlaevsky banishes Talberg, he also takes the responsibility to express what Alexei would say if he were alive. Myshlaevsky refuses to go to the Don, under the command of the same generals. He also refuses to flee from Russia: “I will not go, I will be here in Russia. And be with her what will happen! It is obvious that all the heroes of the "Days of the Turbins" will share the fate of their fatherland, as the noble people of that time did, as a rule, dooming themselves to death or suffering. Myshlaevsky, on the other hand, owns the expressed conviction that Russia has a future. “The old will not be, the new will be. New and again the victory march sounds: “We won, and the enemy is running, running, running!” The social enemy is on the doorstep, but the Christmas tree is burning in the house, Lariosik makes a speech: We are all together again. Lariosin generously wishes the beloved woman happiness with another and quotes Chekhov: "We will rest, we will rest." And then a new historical play. War and peace, chaos and a safe harbor with cream curtains, decency and betrayal, family history and private life are the components of the conflict of the play, its eternal human context. Bulgakov had to change a lot under pressure from the Glavrepertkom, to add a "red" accent. However, the play retained its attractive power - the exceptional charm of the characters, the image of the House-ship, which stood firm in the fight against the elements, the values ​​\u200b\u200bthat are unshakable even in this troubled time: love for the motherland, for a woman, for the family, friendship that is not subject to ideological differences, loyalty to honor and debt.

Turbine A leksey V a s i l ' y e vich - colonel-artilleryman, 30 years old.

Turbin Nikolay - his brother, 18 years old.

T a l berg Elena V a s i l e vna – their sister, 24 years old.

Tal'berg Vladimir R obertovich - Colonel of the General Staff, her husband, 38 years old.

Myshlaevsky Viktor Viktorovich – staff captain, artilleryman, 38 years old.

Shervinsky Leonid Yuryevych - lieutenant, personal adjutant of the hetman.

Studzinskiy Aleksandr Bronislavovich – captain, 29 years old.

L a r i o s i k - Zhytomyr cousin, 21 years old.

Hetman in all of Ukraine.

B o l b o t u n - commander of the 1st Petlyura Cavalry Division.

Galanba - Petliurist centurion, former uhlan captain.

Hurricane.

K and rp a t y.

F o n Sh r a t t is a German general.

F o n D u s t is a German major.

Doctor of the German Army.

D e s e r t i r-s e c h e v i k.

Man

C a m e r l a k e y.

M a k s i m - gymnasium pedel, 60 years old.

Gaidamak - telephone operator.

F irst officer.

Second officer.

T r e t i y o f ic e r.

F irst Junker.

The second junker.

T r e t i y y n k e r.

Y n kera i g a i d a m a k i.

The first, second and third acts take place in the winter of 1918, the fourth act in early 1919.

The place of action is the city of Kyiv.

Turbin's apartment. Evening. Fire in the fireplace. At the opening of the curtain, the clock strikes nine times and the minuet of Boccherini gently plays.

Alexei bent over the papers.

N and to about l to and (plays guitar and sings).

Worse rumors every hour:

Petliura is coming at us!

We loaded the guns

We fired at Petliura,

Machine gunners-chiki-chiki...

Doves-chiki...

You rescued us, well done.

Alexei. God knows what you're eating! Cook's songs. Sing something decent.

N and to about l to and. Why cooks? I composed this myself, Alyosha. (Sings.)

Do you want to sing, do not sing,

Hair will stand on end...

Alexei. It's just about your voice. N and to about l to and. Alyosha, you are in vain, by God! I have a voice, though not the same as Shervinsky's, but still quite decent. Dramatic, most likely - a baritone. Lenochka, and Lenochka! How do you think I have a voice?

Elena (from his room). Who? By you? I don't have any.

N and to about l to and. She was upset, that's why she answers. And by the way, Alyosha, my singing teacher told me: "You," he says, "Nikolai Vasilyevich, in essence, could sing in the opera, if it weren't for the revolution."

Alexei. Your singing teacher is a fool.

N and to about l to and. I knew it. Complete breakdown of nerves in the turbine house. The singing teacher is a fool. I don’t have a voice, but yesterday I still had it, and in general pessimism. I tend to be more optimistic by nature. (Pulls the strings.) Although you know, Alyosha, I'm starting to worry myself. It's already nine o'clock, and he said that he would come in the morning. Has something happened to him?

Alexei. You speak softer. Understood?

N and to about l to and. Here is the commission, the creator, to be a married brother sister.

Elena (from his room). What time is it in the dining room?

N and to about l to and. Er... nine. Our clock is ahead, Lenochka.

Elena (from his room). Please don't compose.

N and to about l to and. Look, he's worried. (Sings.) Foggy ... Oh, how foggy everything is! ..

Alexei. Please don't break my soul. Sing merry.

N and to about l to and (sings).

Hello summer folks!

Hello gardeners!

Filming has already begun...

Hey, my song!.. Beloved!..

Bul-boo-boo, bottle

Treasury wine!!.

Peakless caps,

shaped boots,

Then the cadets of the guards are coming ...

The electricity suddenly goes out. Outside the windows with the song is a military unit.

Alexei. The devil knows what it is! It fades every minute. Lenochka, give me candles, please.

Elena (from his room). Yes Yes!..

Alexei. Some part is gone.

Elena, leaving with a candle, listens. A distant gunshot.

N and to about l to and. How close. The impression is that they are shooting near Svyatoshyn. I wonder what's going on there? Alyosha, maybe you will send me to find out what's the matter at the headquarters? I would go.

Alexei. Of course, you are still missing. Please sit still.

N and to about l to and. I'm listening, Mr. Colonel... Actually, because, you know, inactivity... it's a bit insulting... People are fighting there... At least our division was more likely to be ready.

Alexei. When I need your advice in preparing the division, I will tell you myself. Understood?

N and to about l to and. Understood. I'm sorry, Colonel.

Electricity flashes.

Elena. Alyosha, where is my husband?

Alexei. Come, Lenochka.

Elena. But how is it? He said that he would come in the morning, but now it is nine o'clock, and he is still missing. Has something already happened to him?

Alexei. Lenochka, well, of course, this cannot be. You know that the line to the west is guarded by the Germans.

Elena. But why is it still not there?

Alexei. Well, obviously, they stand at every station.

N and to about l to and. Revolutionary riding, Lenochka. You drive for an hour, you stop for two.

Well, here he is, I told you! (Runs to open the door.) Who's there?

N and to about l to and (let Myshlaevsky into the hall). Is that you, Vitenka?

M yshlaevsk and y. Well, I, of course, to be crushed! Nicol, take the rifle, please. Here, the devil's mother!

Elena. Victor, where are you from?

M yshlaevsk and y. From under the Red Inn. Hang carefully, Nicol. A bottle of vodka in my pocket. Don't break it. Allow me, Lena, to spend the night, I won’t get home, I’m completely frozen.

Elena. Oh, my God, of course! Go quickly to the fire.

They go to the fireplace.

M yshlaevsk and y. Oh oh oh...

Alexei. Why couldn't they give you felt boots, or what?

M yshlaevsk and y. Felt boots! They are such bastards! (Rushes towards the fire.)

Elena. Here's what: the bath is heating up there now, you undress him as soon as possible, and I'll prepare his underwear. (Exits.)

M yshlaevsk and y. Baby, take it off, take it off, take it off...

N and to about l to and. Now. (Takes off Myshlaevsky's boots.)

M yshlaevsk and y. Easier, brother, oh, easier! I would like to drink vodka, vodka.

Alexei. Now ladies.

N and to about l to and. Alyosha, my toes are frozen.

M yshlaevsk and y. Fingers gone to hell, gone, that's clear.

Alexei. Well, what are you! They will depart. Nikolka, rub his feet with vodka.

M yshlaevsk and y. So I let my legs rub with vodka. (Drinking.) Three hand. It hurts!.. It hurts!.. It's easier.

Director - Ilya Sudakov
Artist — Nikolai Ulyanov
Artistic director of the production - Konstantin Sergeevich Stanislavsky

Nikolay Khmelev — Alexey Turbin

Mikhail Yanshin - Lariosik
Vera Sokolova - Elena
Mark Prudkin - Shervinsky
Viktor Stanitsyn - Von Schratt
Evgeny Kaluga - Studzinsky
Ivan Kudryavtsev - Nikolka
Boris Dobronravov - Myshlaevsky
Vsevolod Verbitsky - Talberg
Vladimir Ershov - Hetman

The performance enjoyed great audience success, but after devastating reviews in the then press in April 1929, The Days of the Turbins were removed from the repertoire. In February 1936, the Moscow Art Theater staged his new play “The Cabal of the Hypocrites” (“Molière”), but due to a sharply critical article in Pravda, the play was withdrawn in March, having managed to pass seven times with a constant full house.

But, despite the accusations against the author, who was convicted of a bourgeois mood, at the direction of Stalin, the play "Days of the Turbins" was restored and entered the classical repertoire of the theater. For the writer, staging at the Moscow Art Theater was perhaps the only way to support his family. In total, the play was played 987 times on the stage of the Moscow Art Theater in 1926-1941. It is known that Stalin watched this performance more than once. Subsequently, contemporaries even actively argued how many times the leader watched it. The writer Viktor Nekrasov wrote: “It is known that Stalin watched the play “Days of the Turbins” based on the play by M. Bulgakov ... 17 times! Not three, not five, not twelve, but seventeen! And he was a man, one must think, still busy, and the theaters did not spoil his attention so much, he loved cinema ... but something in the Turbins captured him and wanted to watch, hiding behind the curtain of the government box " (Nekrasov V. Notes of onlookers. M., 1991).

a small remark about Nekrasov's "loved cinema"))
- And how many times did Stalin visit the Bolshoi Theater, just go to performances? loved opera. And the last performance he watched - Swan Lake - was on February 27, 1953.
and in Small? he did not miss a single premiere.
and the music?

For the first time, I felt very uncomfortable when the lights came on and everyone began to disperse for the intermission. And I sat and did not understand why he was here? The performance is so emotional that it looks in one breath, and you want, in a fit, to jump up from your seat, and at least with this support the white guard (well, this is for the patriots). This is where the energy is felt, where youth is felt, incendiary and penetrating. It cannot be compared with any movie, especially the scene when Alexei dies in Nikolai's arms. The lights go out (oh, the play of light in the theater is generally a separate matter!). Then it lights up again. And you sit and feel that a tragedy has occurred, gradually returning to the real world.

To tears

Bravo

Art therapy

Excellent performance of the play

After "The Master and Margarita" in the original, unusual interpretation, I was happy to see a performance based on the work of Mikhail Afanasyevich, staged just perfectly, in my favorite Theater of M. Bulgakov. This is "Days of the Turbins" - a play written on the basis of the novel "The White Guard". I read the novel at school, but, to be honest, I didn’t get my hands on the play.

What is the life of a family of "white" intellectuals after the revolution, in the terrible year 1918, when the Civil War began? It was very strange to remember that Nikolka (T. Karataev / G. Osipov) is 18 years old, Elena (E. Kazarina / K. Romenkova) is 24, and Colonel Alexei Turbin (M. Martyanov) is only 30. Here they are, these people who seemed so grown-up, your peers. They are also played by young artists, and this is a plus.

The tension grows as the play progresses: at the beginning we see the “military”, but still calm, habitual way of life of the Turbins (everything is overshadowed only by Elena’s late husband, Talberg (P. Grebennikov / A. Driven) - Nikolka sings, Alexei makes fun of him, Elena prepares dinner. But then events grow like a snowball. What will Elena do if her husband suddenly decides to run away from the besieged Kyiv to Germany? communication between the wife and lieutenant Shervinsky (A.Driven / E.Vakunov).When will the completely unadapted cousin Lariosik (D.Beroev) from Zhytomyr fall like snow on his head, and you also need to watch him? , and every time you don’t know whether Nikolka and Alexei will return alive or not.

It's fun to watch the characters develop as the story progresses. The acting is top notch. Alexey Turbin remains inflexibly true to his duty, no matter what. Elena, such a strong woman - despite the betrayal of her husband, found the strength to live quietly and build new happiness. But her cry, when she found out about the death of Alexei, is still in her ears: “Senior officers! Everyone came home .. and they killed the commander ?! Nikolka, such a cheerful joker at the beginning, after the tragedy becomes an invalid, in a couple of months he seems to have aged for many years, and he no longer wants to sing and have fun. Lariosik, funny, clumsy, quickly adapts to life in a besieged city, and now he is a faithful comrade, ready to bring a bandage and vodka, if necessary.

The secondary characters are great too. Shervinsky brings a touch of fun to the heavy plot - the general favorite of the public, judging by the reaction of the audience. Another colorful character is staff captain Vitya Myshlaevsky (M. Fomenko), a family friend. A drinker who seems frivolous and cheeky - in fact, he is a loyal military man and stands behind the Turbin family with a mountain. Myshlaevsky is so tired of the aimlessness of service, especially after the flight of the hetman, that the news of the surrender of Kyiv to the Bolsheviks does not frighten him - he is glad to serve the country, the Motherland, and it doesn’t matter who is “at the helm”. But the opposite opinion is held by Captain Studzinsky (D. Sidorenko). He wants to run for the Don, to continue fighting on the side of the whites. About the coming of the Bolsheviks, he says: “To whom - a prologue (to a new play), and to whom - an epilogue.” And, although the “Days of the Turbins” end on the stage of celebrating the New Year in the family circle, which inspires hope for a brighter future, you understand that the former cannot be returned, there will be a new life, but it is not known whether it is good or not.

The only downsides I can include is a very strong closeness: I usually sat in the first half of the hall, where, apparently, it was cooler. But in the last rows it was terrible. One man even became ill and had to leave in the middle of the performance. Of course, constantly opening the door to the street and ventilating is not an option, so you should think about improving the air conditioning system by the summer, perhaps :)

The performance is unequivocally at the moment - the most beloved to me from the repertoire of the Bulgakov Theatre. I definitely recommend watching it - 10 out of 10. By the way, there were a lot of guys aged 14-15 in the hall, they obviously brought them in whole groups. And the performance is really great for getting to know the work.

Just a miracle!

The pearl, which was born back in the institute walls, not only found a wide audience, but also continues to gather full houses!
Of course, the full halls here are not without reason.
And the merit of such a success of the performance is not only the director, but the whole team. Young actors who play in such a way that I want to talk about everyone!
Laconic, but full of bright details and images, stage design - artist - Vera Nikolskaya.
Ah, that long coat rack with hooks! Overcoats, overcoats ... She is either like a door with curtains, then a curtain, then a wall, then like a gallows ...
And the costumes are chosen in such a way that they enhance the image of everyone as much as possible.

But the main value of the performance is that it is really about the days of the Turbins, it is about the revolution, and about the war, and about the catastrophe, but above all it is about people. So when you come to the performance, you will find yourself an invisible guest in this amazing family!
This amazing feeling of your own presence inside what is happening on the stage does not leave you throughout the performance.
As if you, too, were treated to tea with jam, and a crispy cucumber, and even gave you a sip from a glass.
And of course, you can’t help but feel your involvement in the fates of the heroes, live their joys and sorrows, try them on yourself, evaluate, think about how you yourself would act at one time or another.
And thinking about it, you suddenly realize that each of these people arouses admiration in you. Admiration, respect and great sympathy.
The unconditional success of the performance is precisely in this - there are no minor characters and gray images. Strong, bright, so different, but invariably wonderful people.
Well, about Mr. Thalberg, as the only negative character involved in this house, we will tactfully not mention ..)
How not to focus on Hetman, Fedor and others. Although these roles are well played.

Only about the Turbins, their relatives and friends.
Talberg Elena Vasilievna (Tatiana Timakova) - just a queen! The only woman in the play who easily copes with the role assigned to her as the mistress of the house, and the caring wife and sister, and the queen. Smart, beautiful, aristocratic. At the same time emotional and completely alive! Real! Bravo!
It is next to such women that men flourish!
Even Shervinsky - Oleg Rebrov, a handsome man, talent and joker is just a diamond setting next to her.
By the way, it was Shervinsky who amused the audience more often than others, taking the palm from Lariosik.
With what kind irony they treated this character in the performance! Shervinsky is multifaceted and very cute!
However, Lariosik (Ivan Makarevich) is also a miracle how good!
Together with Myshlaevsky, Yuri Tkhagalegov, they certainly add both pepper and colors to this performance.
And behind the scene with Talberg, just three times bravo to Myshlaevsky-Thagalegov. Very masculine. Sparingly. In a military way. But how cool!
"He left. He gives a divorce. We had a very nice talk."
Bravo!
Alexei Turbin (Alexander Bobrov), who made the whole audience hold their breath at the end of the first part.
Nikolai Turbin (Oleg Polyantsev), who has undergone, perhaps, the most striking change, crushed by life, but not crushed by it, and so similar to his brother. The cane in his hands is also not without reason (another brilliant find of the director, I think)
And of course, Studzinsky (Dmitry Varshavsky) Oh, what Studzinsky is here!
God! I just wanted to run out onto the stage in the finale, shake Elena Vasilievna by the shoulders and shout:
- Well, don't you see that you have to marry Studzinsky?!

I would have done the same in her place. Although ... to survive and adapt in the country that was then born, with Shervinsky, of course, she has more chances. Bulgakov is right.

Go to the theatre!

Great ensemble of actors

I continue to discover new theaters for myself (in this sense, Moscow is just a Klondike, here, no matter how hard you try, you still can’t reconsider everything). This time I was simply fabulously lucky - the new place turned out to be just excellent both in terms of entourage, content, and execution. And all this about the Theater. M.A. Bulgakov!
I sincerely liked everything, from the location, the interior, albeit cramped, but therefore more comfortable decoration, communication with the audience of the theater workers, to the very staging and acting of the actors, to the atmosphere of the auditorium and (halelujah!) The cultural behavior of everyone (no rustling of wrappers from chocolates, no chuckles and conversations along the way, no squabbles over places). I honestly tried to find fault with something so that the story would not turn out to be very unctuous, but I did not find it. But no, I found it! I sat on the side chair for 3 hours, it was hard, but I realized this only after leaving the theater, it didn’t bother me at all during the process.
A girl in a costume of the beginning of the 20th century makes her way through the narrow corridors of the theater through a crowd of visitors and joyfully calls everyone doves and doves, persuading them to go into the hall, not to crowd in the aisles and ... informs that the Lonely Hearts Club will work during the intermission, where every loner can find your happiness. And how, you can not lose a minute in this crazy world!
There was a flock of young people among the spectators (I think, the senior class of some school), they will definitely call each other doves and doves for a long time after the visit, because during the intermission and after the performance I heard only such an appeal from them)))
Now about the performance. "Days of the Turbins", if anyone does not know, is based on Bulgakov's novel "The White Guard". And here history takes a turn - after all, the action takes place in Kyiv in troubled times - the hetman, Petlyura, the Bolsheviks. As in the unforgettable "Wedding in Malinovka" - "Power is changing." And against this background, the history of a single family - meetings, partings, love and hate, betrayal and heroic deeds. Someone saves his own skin, and someone does not spare her for the sake of principles and ideals. In general, everything repeats itself, indeed, the wheel of history is spinning and falls into the same rake of a civil war. But I don't feel like retelling a play or a novel - it's better to watch or read it yourself, or better both.
The cast ... You know, there are performances where everyone works out, but does not play, it happens when some actors are beautiful, and the rest are just a background. In this performance, surprisingly, harmony is like a common choir, no false notes, otherwise it would stand out very much. Just not a game of the Turbin family, but the life of the family itself and their friends, interaction with the outside world. I don't want to single out anyone, I want to single out everyone at once. Excellent stay on stage.
I’ll just say that after reading the book, I didn’t really like Myshlaevsky, but after the performance I realized that this hero is one of my favorites. I have already mentioned the atmosphere in the hall, at the end of the performance the hall stood up and applauded standing.
Artists were called to bow more than once or twice.
Many thanks to the theater, actors, director Tatyana Marek, theater workers - for a wonderful evening and immersion in that era so easily and truly.