Nikita Kononov (Kryguine), stage
director
Les Indes Galantes (J.-P. Rameau), 2001,
“ … In the visual elements of the
production (the direction, the scenography, the choreography) were looked through
original ideas. And it is not important, that it is difficult to decipher value
of many gestures and stage settings which have been thought up by director
N.Kryguine and his colleagues (for example, officers with a pistol in a scene
"Les Incas"). Probably, it also is not necessary in a context of the
given production. Such director's style emphasizes some "delirium" of
subject, irony of authors of production above an event enough (certainly, all
it is not new; so to execute a bagatelle already began tradition - to recollect
production in 1999 by A. Serban and W.Christie at Palais Garnier)…”
Eugeny Tsodokov, Opera
News
“…The opera of the French composer is
unfamiliar to russian audience so N.Kryguine began some kind of the pathbreaker.
He has risked to recreate an opera in its protogenic kind, to dip spectators
into the world of baroque theatre … but in today's execution show not museum
reconstruction but a fresh sight on the forgotten opportunities of baroque acting techniques…”
Natalia
Panchenko, Ekran I Scena (Screen and Scene), June 2001
Orfeo
(K.W.Glück), 2001,
“…Classical museum art-performance with
videoinstallation, stage provocation and spatial subjectivity. Performance abounds
the latent citations and hyperreferences, among which - references to the Old Testament, Metamorphosises by Ovide, Une
Saison en Enfer by Rimbaud and Inferno by Dante. The important role in
statement is played also with a interior of
The
Portal Culture, December 2001
Don Giovanni
(W.A.Mozart), 2004,
“…Don Giovanni appeared one most
successful of production of theatre…”
“…In
a small hall production is shown as performance of scrolling company…”
Grigory
Spektor, Muzykalnaya Zhyzn (The Music Life), March 2004
Black Man
(S.Esenin – E.Tolstunova), 2004,
“…Dreams And Reality…”
“…Claps a door,
Esenin enters … Barefooted, blond … the muffled voice of a person overtaxed:
«My friend, my friend, I very much also am very sick ». The production of Black
man is a dream play. Dreams for the poet are fertile elements where the
reality interferes as something alien. The death is a reality, immortality is a
true.
Black man is the black cloak, falling silk on a floor is almost as judicial sacerdotal robes. To sustain court of own conscience - terrible test! But the verdict is inevitable: “Anybody with me. I lone… before broken a mirror… »
Vera Novikova, Novaya Gazeta (The New Daily
“…Black man is musical dream play in fourteen episodes on Esenin’s poem. Dreams: "phantasmagoria", "madness", "death", "immortality" etc. Dreams are steps to a precipice, in the denouement only a loop…”
“…The way of geniuses to death is terrible - neither women, nor fine sounds of a violin - nothing can avert the terrible ending. The continuous round of sounds and of embraces fills in life and - on any time - heart, but the fate is relentless…”
Elena Koreneva, Ryazanskie vedomosti (The
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