60 years ago, Alexander Solzhenitsyn wrote a somewhat naive, but very poignant story “Matrenin yard.” Anna Akhmatova reading it remarked: “Not the girl, and the whole Russian village under the locomotive fell and shattered”. To talk about the righteous, without which it is not worth the village, came from St. Petersburg theater. V. F. Komissarzhevskaya. After the premiere we talked to the main Director of theatre Leonid Alimov.
Photo: courtesy of the press service of the Theater. Komissarzhevskaya
Attitude toward Solzhenitsyn in the country changed as in a roller coaster. Now not all share his views on the development of our country. How was he interesting as a person?
Leonid Alimov: Definitely interesting. But otherwise can not be giant and will agree with those who say that this is the last Russian writer of the twentieth century, personified the idea that the word in Russia is more than just words. And I admit, the more its abused, the more I respect him for the position which he essentially defended. Even though it pecked Vladimir Voinovich over the years acquired the habit to feed the people. But I think he just could not do otherwise, he was sincere in his desire to be a shepherd. Therefore, by the way, I’m so looking forward to a new, personal version of the documentary-interview with Alexander Sokurov and Solzhenitsyn. Perhaps many otherwise would look at this figure.
Now some theaters have turned to Solzhenitsyn’s prose, put “Red wheel”, “One day of Ivan Denisovich”. Why did you choose “Matryona”?
Leonid Alimov: for the First time this story I’ve read in the years of perestroika in the magazine “Ogonek” and then he made on me tremendous impression. And the older you get, the more I became clear with its hidden religious meanings. I kept thinking about the girl. As, incidentally, another story about Solzhenitsyn’s “the Case at station Kochetovka”. Also surprisingly high-pitched thing at the beginning of the war, the young idealist officer, sitting at a railway crossing, takes the drama theatre actor as a spy and gives him the NKVD. But, thinking about the statement, which was supposed to come out in the jubilee Solzhenitsyn year, I realized that it would be best to take it for “Matryona” – although in the village Maltsevo have matreny Solzhenitsyn lived quite a bit, according to his widow, Natalia Dmitrievna, he kept coming back to this time.
Solzhenitsyn had a special relationship to the story. Natalya Reshetovskaya, the first wife of the writer wrote in her diary that parcel of the “New world” with “Matrenin yard” the writer was much more excited than after the publication of “Ivan Denisovich”: there – topic, but it’s pure literature.”
Leonid Alimov: But in the “Matrenin yard” this topic is raised! Maybe even the most important for us – the theme of the Russian woman who is ready to forgive and endure.
Actress Nelly Popova noticed that she dedicated this performance to his grandmothers village, whose life is so similar to matrenino…
Leonid Alimov: And such one-sixth of the land rests. In fact, a Russian woman is our brace.
But in the case of Matrona, this brace is humiliated creature, in fact, the girl is whacky. It all down, use it.
Leonid Alimov, And she forgives and pities. I’d say she’s a Saint. This is just the meaning of the story, and performance: how we, in our vanity, in your concerns don’t have time to realize that we lived next to the angel. But it’s extremely important that among us was a man, who despite everything manages to live truly human. Remember the first name of the story – “Not worth the village without the righteous.” And it is clear why Solzhenitsyn was so important these months that he has lived at understand – for him the space was the interior of Russia, where you can “worm their way to get lost”.
Actress Nelly Popova confessed that she dedicated this performance to his grandmother, who lived not too
Rasputin claimed that the village prose emerged from “Matrenin yard”, as the Russian classics of second half of XIX century – from Gogol’s “Overcoat”. But you without a village to take.
Leonid Alimov: We in any case did not want to do a play about Soviet village, although, frankly, it’s not as easy as it looks – too many in our consciousness dies, even the young actors who were born after the Soviet Union, even they have the reflex: should give sort of grandfather Shchukar. What we did is a parable, even the life, if you want. Therefore, we have the cross, which symbolizes the way of the cross matreny and the railway crossing, where she found her death. The main thing for us first of all to convey to the audience a remarkable, often tragic thoughts of Solzhenitsyn – about ourselves, about our country, about ways of its development, and, again, about the Russian woman.
Say that the first night after the funeral, the girl came in a dream to his older sister Mary, and told that buried her not all her heart crows peck. As it turned out, there were heart – wrinkled, it was hanging on the Bush in the ill-fated move. It is not accidental that the story of Marya overgrown with legends, myths…
Leonid Alimov: While her house? Five years ago he burned down a year it was restored. But even before that, in 1994 there was a great story: when Solzhenitsyn returned to his homeland, wanted to see those places, the building came to a complete desolation, began frantically to put in order – put in new Windows and doors. Solzhenitsyn came and visited the house, went to Matrona’s grave. And left. The same night unknown persons have carried away those Windows and doors. I think this is the best comment to the story “Matrenin yard.” In all this kind of irrationality inherent in us. And the war was won, after covering the country and half of Europe with corpses. And as foreigners, our people, at first seemingly harsh, not smiling, and then the shirt ready to give to God knows who. By the way, so foreign filmmakers so difficult to work with us. For them, theater is work, all hourly. For us – a way of life. This, incidentally, applies to literature. As one writer put it: “we Need to get used to living in the West. We are just servants, we just earn literature”. But I think that this attitude to work will be…