NOT TO THE LIKING OF THE CROWD

Tbilisi's  Griboyedov Russian Drama Theatre has come to Baku yet again and staged Avtandil Varsimashvili's production of  "Kholstomer, The Story of a Horse" at the Samad Vurgun Theatre. This cultural tradition adhered to by the two theatres is deep-rooted and goes back a long way, to 1927 and 1928. At that time, Vladimir Shveytser (The Pessimist) was offered the opportunity to run the two revolutionary theatres, the Baku Workers' Theatre and the Prolyotkult Satire and Propaganda Theatre in Tbilisi. 

The frenzied Volodyusha (as his friends called him and the actors behind his back) should be given his due for the enthusiasm with which he set about doing this. The idea of contacts in the arts was an exclusively a Soviet one. And, of course, nothing came of all this fuss, because it was impossible to keep track of the Baku troupe's artistic development while being in Tbilisi and vice versa. But fact remains fact, that is how it was. And now 80 years later, the director of the Tbilisi Russian Drama Theatre has proposed reinstating the tradition of cultural contacts.

He was heard and supported by the director of the Baku Russian Drama Theatre, Adalat Haciyev. For the fourth year now the theatres are going on exchange guest tours. On their return visit, the Baku troupe is proposing to perform "Mascarade", a play by [Russian writer Mikhail] Lermontov.

Relating to people with whom you feel uncomfortable 

So what is Avtandil Varsimashvili's production about? The production does contain some references to the Soviet past of the Leningrad Grand Drama Theatre regarding the staging of Georgiy Tovstonogov "Kholstomer" with Yevgeniy Lebedev playing the main character? What interested Tovstonogov in Lev Tolstoy's work in 1975 and what interested Varsimashvili today?

The main thing in the Leningrad version of this production was the idea of the confrontation between man and the system. The story of the horse was shown as the tragedy of man. The old, sick gelding Kholstomer tells its story to the other horses in the herd. It was a  thoroughbred stallion, but had an inherited defect, namely skewbaldness (white markings). Right from being a colt Kholstomer was considered to be a "second class" horse owing to its markings, although it was very fast. 

In dealing with Tolstoy's essay, Varsimashvili examines the problems of the mutual relationship between the individual and the crowd. His Kholstomer, played by Valeriy Kharuchenko, is a personality living in the  world as if he has no skin. And every discord that occurs in the world penetrates his soul with a thousand needles. "The Story of a Horse" is a simple one. It was born, lived, and tried to be happy. But it was beaten and humiliated solely because it could not be "like everyone else". There are always problems with individuals like that. They are not liked. People are irritated by them. They make people feel uncomfortable, because unlike those who are "like everyone else", they require greater spiritual efforts and emotions. Kharyutchenko's Kholstomer is more of a person than a horse.

There it is, a young foal in the herd of horses, without a saddle and a bridle! It is healthy, strong, beautiful, young and free! It has its whole life ahead. It is happy because it does not yet understand that it is the black sheep. Then life begins to break it, casting it from one situation into another, making it suffer, lose and then to be reborn for life. Kharyutchenko's character did not become embittered and hardened. He is the embodiment of wise tolerance, patience and love. "His old age was pathetic and majestic at the same time!" Tolstoy wrote, but the actor played it in a lighter vein.

The world of horses and the world of people. It is as if Varsimashvili is showing them in confrontation. In the animal world it is the survival of the fittest. But another rule is effective in the world of people. The producer shows these worlds in opposition to one another, constantly comparing them, He compares the characters in just the same way: Kholstomer and Prince Serpukhovskiy (Apollon Kublashvili). Their fates are similar. Vazapurikha is disloyal to Kholstomer, leaving him for Milyy. Matye is disloyal to Serpukhovskiy, leaving him, running away with an officer. One grows old in the cattle-yard while the other becomes a drunkard, squandering his wealth, a pitiful soul. They meet in their declining years. Serpukhovskiy does not recognise his Kholstomer. But Kholstomer is superior and more noble. He even forgives the person who maimed him, depriving him of the hope of a better life. He recalls his phrase at the very beginning of the act, in which he tells us that according to his stud-book his name is First Fellow [Perviy Muzhik] and Kholstomer is his name on the street.

To be understood

So, why is Varsimashvili turning to Tolstoy's prose. Because, at the present time, when people are so estranged from one another, when moral values have been lost, when the age- old foundations of moral values are being washed away, an analytical view of the essence of the problem is needed. A view that will be able to stimulate interest in the overall problem. The producer has managed to do this. The production, which is expressive in its form and integral in its content, confirms yet again the stand occupied by the theatre's management that it is the aim of the theatre not to entertain the spectator, but to give him food for thought. But in doing this, there is no need to be afraid of being incomprehensible and unpleasant. The theatre's repertoire consists of works of Russian classical drama.

This is a way of making sure that the troupe keeps in good professional form. It is a way of accessing audiences who are at the present time already beginning to return to the theatre auditoriums in Tbilisi. Interest in the theatre as an art form is being revived. It has taken Nikolay Sventitskiy nearly 20 years to maintain the theatre as a cultural enterprise, to retain the creative and professional skills of the theatre troupe. Time has shown that he has managed to do this. In December last year the Griboyedov Drama Theatre production "Kholstomer. The Story of a Horse" won the "Golden Knight" grand prix at the  11th "Golden Knight" International Theatre Forum (headed by Nikolay Burlyayev) in Moscow. Valeriy Kharyutchenko was awarded the "Gold Diploma". At that time, the production won the "Stars of the Theatre" international prize, instituted by the editorial office of "Teatral" magazine and the newspaper "Novye Izvestiya".

The actors of the Samad Vurgun Russian Drama Theatre are to make a return visit to Tbilisi in 2015. There they will put on Alexander Sharovskiy's production of M. Lermontov's play "Mascarade". At the first "At the Holy Trinity" international film festival in Sergiyev Posad in June this year the production was awarded the diploma of the festival's jury, the diploma of the town authorities as well as the icon of "The Holy Trinity".

It remains to be surmised whether the Baku actors, who have already staged the productions "I want to buy a husband" and "Monsieur Jordan, scholar and botanist and dervish Mastalishakh, the famous wizard" at the Griboyedov Theatre will be of interest to audiences in Tbilisi with this version on Arbenin.