VIII International Festival-Laboratory of Chamber Theatres and Small-Scale Performances
Video discussion of the performances
Discussion for November 23: "The Funny Old Man," "That Same Munchausen," "The Warsaw Melody," "Flowers for Algernon"
Discussion for November 24: "Harvest," "Double Bass," and "London"
Discussion for November 25: "Love in a Teacup," "Black Sorceress," "Dear Elena Sergeevna," and "One Season in Hell"
Discussion for November 26: "How a Peasant Found Happiness," "Dzhanhara," "The Cabaret of Our Life and Death," and "The Karamazovs"
Results of the VIII International Theatre Festival Moldfest.Rampa.Ru '2016″
NadezhdaAksenovais a theatre scholar and research fellow at the Academy of Sciences of Moldova.
The 8th International Theatre Festival Moldfest.Rampa.Ru '2016 has already become an autumn tradition for our city, once again uniting people of different languages and worldviews for one week. At Moldfest, I reconnected with old friends (critics N. Z. Mazur and V. V. Tereshchenko) and met new talented individuals and groups.
This festival was held to popularize Russian theatrical art: performances based on plays by Grigory Gorin, Lyudmila Razumovskaya, Lyudmila Petrushevskaya, Varlam Shalamov and others were presented, and almost all of them were performed in Russian or were given with translation.
I would like to point out two trends that could be observed when analyzing the performances of this festival:
1. The qualitative affirmation and development of the Russian traditional theatre of psychological realism using the example of the performances Love in a Glass of Water by Lyudmila Petrushevskaya, shown by the V. I. Dunin-Martsinkevich School of Drama and Comedy (Moscow, Russia), Novecento byShchukin Graduates Theatre (Moscow, Russia), as well as the performances of the host party, i.e. the Theatre from Rose Street : Dear Elena Sergeevna by Lyudmila Razumovskaya, Cantor by Ira Levin, Flowers for Algernon by Daniel Keyes.
2. Research and implementation efforts in the field of contemporary post-dramatic productions. I found the Yerevan Theater's Ara Asaturyan one-man show "The Funny Old Man" by Tadeusz Różewicz very intriguing, demonstrating the loneliness of modern man and the chaos of his existence, which lacks any values or meaning. Another memorable performance was " based on the play by contemporary Belarusian playwright Pavel Pryazhko, presented by the Nizhnevartovsk City Drama Theater. In it, director Vyacheslav Zaychikov, with ironic mockery, asked the audience, "What will today's youth leave behind? What harvest?" This performance offers something for everyone—for some, the joy of the anecdotal situations played out on stage, for others, the opportunity to reflect. Critics have noted a significant trend among today's youth: a desire to follow a strong personality, a leader, as exemplified by Roman Gorbaty's character (Valera). However, as a person, he (Valera) is completely uninteresting—he's a run-of-the-mill, ordinary, yet self-assured young man. The contemporary language of P. Pryazhko's characters The Harvest demonstrates the poverty of everyday Russian speech, primitivized by the influence of "high technology." The same linguistic tendency is characteristic of Belarusian playwright Maxim Dosko, who, together with director Elena Silutina, created the play " London"How a Peasant Found His Happiness," based on Leo Tolstoy's fairy tales, was staged in a playful, improvised form Artem Kabidov and Oleg Labozin demonstrated effortless technical tricks, a high level of creative imagination, and brilliant work with the apparatus.
I'd like to highlight the solo performances staged as part of the 8th Harmelin Festival. One has already been mentioned above: The Funny Old Man (T. Ruzhevich, Yerevan). Flowers for Algernon (D. Keyes) revealed to me the talent of the actor Alexei Shtyrbul, who, in the space of an hour and a half, evoked four or five months of the life of the mentally disabled Charlie and managed to vividly convey all of his character's emotional struggles. Director Vyacheslav Tereshchenko's production of Novecento (A. Baricco) immersed me in the human journey of the brilliant pianist Novecento (Vladimir Zhukov), who, marooned on a ship from birth and never set foot on land, found happiness in the musical self-awareness of piano performance. The musician's tragic fate is also indirectly addressed in one-man show "Double Bass ," played by Azerbaijani actor Shovgi Huseynov. In these two productions, the directors used a variety of expressive means to explore the problem of the humble individual and his or her limitless potential in the world of art.
As Maxim Gorky once said, "Art should ennoble people," and that's exactly what happened to the participants of the 8th Moldfest, who over the past week were able to recharge with positive emotions from the performances they saw, enrich their inner worlds, and learn many new things in the master classes.
For eight years now, the State Youth Drama Theatre "From Rose Street" has been welcoming guests from all over the world: Moldova, Russia, Belarus, Ukraine, Kazakhstan, Tajikistan, Dagestan, Mongolia, Poland, Albania, Bulgaria, Luxembourg, Great Britain, Israel, France, the USA, Germany, Romania, Armenia, Azerbaijan, Georgia, Lithuania, Latvia, and elsewhere. There are no special treatments, no awards, and nominations—we simply share experiences!
An incredible flow of new impressions and vibrant sensations never ceases—a record number of theatrical delights unfold here in a single day. Work is in full swing, theaters present their creations to audiences, and this celebration unfolds under the constant watchful eye of the festival's expert board.
"Contemporary theater is a very powerful indicator of the times and the events taking place in society: sociological, cultural, political. This festival has a clear trend, and we can already identify it—it's about the interaction of people and social classes. This is a very important moment in elevating society to a new level. A huge thank you to them for this!"
The Rose Street Theatre is a truly high-quality post-dramatic theatre, allowing us to enjoy a high level of professionalism and a clear understanding of layers of meaning and solutions. People come to the theatre hoping to experience a miraculous emotional impact. Here they get it!
Nina Mazurisa theater scholar, critic, playwright, and member of the German Center of the International Theater Institute (ITI). She is also Vice President of the International Monotheatre Forum at the International Theater Institute (UNESCO). She is also a member of the German-Russian Literary Society in Hanover and the International Association of Writers and Journalists in London. She is also the Artistic Director of the International Theater Festival "MOST" (Germany) (Hannover, Germany).
"I've clearly realized what I love about this theater, why I have such a clear, undeniable, and obvious devotion to it. We live in a world where there's too little warmth. The Roz Street Theater is like a warm spot on the map. An amazing place. It glows. I wish you health and inspiration!"
Vyacheslav Tereshchenko – Director, Director of the Moscow Shchukin Graduates Theater, winner of international theater festivals, PhD in Psychology, Associate Professor at the Boris Shchukin Theater Institute at the Yevgeny Vakhtangov State Academic Theater, author of books and articles on acting and directing.(Moscow, Russia)
"There's a vibrant inner life here, and a wonderful moral and ethical climate reigns! This festival is like a bonfire you can't help but approach. It's not just inviting—you want to contribute: approach it, throw in your own firebrand, to prolong the flame, and, warmed up, move on, taking a little of its warmth with you. Thank you!"
Nadezhda Aksenovais a theatre scholar and research fellow at the Academy of Sciences of Moldova.
"You love to seek out the human in people and teach this to your generation of children. Thank you for your educational role!"
Karine Khodikyan is a playwright, novelist, publicist, and screenwriter. She is the founder and editor of the Aybengir Publishing House and the Dramaturgiya magazine, and Deputy Minister of Culture of the Republic of Armenia (2004–2008).(Yerevan, Armenia)
Armine Oganesyan – Deputy Director for Creative Projects and Audience Relations at the Roman Viktyuk Theatre, Theatre Critic(Moscow, Russia)
"TO THE SKY. FLIGHT IN THE STYLE OF KHARMS" by D. Kharms, State Russian Drama Theatre "From Rose Street" (Chisinau, Moldova)
Nadezhda Aksenova
"This is a truly memorable work! Well-executed, with wonderfully chosen 'masks' and absurd imagery. I was delighted to see this artist explored in such a relevant way."
Karine Khodikyan
"I thoroughly enjoyed the performance from the first minute to the last. It was a celebration of Harms—playfully resonant, vivid, and incredibly compelling! The material was masterfully chosen, and each story was a new life epic. The feeling of admiration and amazement as the actors first appeared on stage gave way to the realization of how precisely the performance was constructed. It was as if each actor, before going on stage, was wound up like a doll, with a key turned the right number of times. The result was a shared breath, a unified psychological state, and hearts beating in unison."
Nina Mazur
"Despite the fact that I'm not a fan of the absurd as such—in literature, theater, or life—I was nonetheless captivated by this theatrical force. Every performance has its own heaven, and in this case, I felt Harms's mad, tragic gaze directed at me from above. The performance breathes lightly, freely. There's an impatient, excited anticipation of each new appearance by the actors, a constant observation not only of what's happening onstage but also of one's own inner state. The actors basked in the material, each one completely individual, simultaneously beautiful and terrifying in their own way. They seemed to be grappling with the bleak material, masterfully overcoming obstacles and transforming darkness into light."
Vyacheslav Tereshchenko
"This work is a unique educational act on the part of Yu. A. Kharmelin, aimed at his actors, preparing them for something even more grandiose. It was something extraordinary in its brightness, the intensity of its existence, and the complexity of the creative task—existence in the genre of clowning. I was delighted with the selection of material and its unification into a coherent whole. I was deeply impressed by the stage presence of these strange, touching people. It was a challenge—life-affirming, vibrant, and meaningful. Such an unusual feeling, as if from behind the masks of images, through an invisible gap, the eyes of the artists-creators were peeping, squinting. For me, this performance sounded like a challenge, like a creatively meaningful stage in the development of a living organism.
Armine Oganesyan
"The celebration took place—the performance resounded. Harms and Harmelin merged. The troupe was ready, as if something had been nagging at them and the time had come to speak out. Everything was meticulously thought out, precisely and skillfully constructed and lived in by the actors, even in the crowd scenes, which is quite challenging in this small, confined space. One state of mind suddenly gave way to another—you laugh, and then suddenly, at some point, you ponder vital questions. From the very first minutes, the precise technique is striking—we see puppets on stage, devoid of emotion, without personalities, yet possessing a surprisingly meaningful way of being, treating their characters with such drive and love."
The play "KANTOR", A. Levin, State Drama Theatre "From Rose Street" (Chisinau, Moldova)
Aurelia Georgieva
"This production embodies a tremendous sense of freedom and the joy of theater. It's a stunning, artistic, globally relevant moment in time, evoking a vibrant, timeless, and eternal theme. I'm stunned and delighted by the performances of each artist."
Nadezhda Aksenova
"Yuri Arkadievich, I bow deeply to you! You brought me to life, immersed me in true art. I saw living people, filled with faith and love. Thank you so much."
Karine Khodikyan
"I witnessed a wonderful team performance, in which every actor knew their place and their register. It's an orchestra. There was absolute faith in the characters, in their love, in their suffering, in their way of enduring the trial of temporary separation from their loved one. All these feelings flow to the audience, and they sense them. You are so true to yourself, you don't seek anything new, you go deep, you get to the root and lead us along with you. This performance is one I'll take back to Yerevan with me."
Nina Mazur
"If I'd read the play before seeing the performance, I would have definitely doubted the protagonist's sudden metamorphosis. I would have wondered: could a feeling of irritation really push someone to change their faith? I wouldn't have believed it. But the fact is, the actors' strength of conviction, coupled with their talent, makes you believe in the most improbable circumstances. The performance is like Yuri Harmelin's character, and his character is like life itself. It turns out that Yuri Harmelin is not only an excellent director but also an actor with an incredible level of charm. His performance creates a desire to get to know his wise, charming, vain, and cunning character."
Vyacheslav Tereshchenko
"The performance left a very positive impression. Yesterday I experienced a profound human joy of a creative nature. Here I witnessed history, with a remarkably well-coordinated interaction of all the theater's components. I found no so-called 'white threads.' We were presented with a wonderful ensemble of actors, evoking emotional empathy. Each performer who took the stage presented themselves to us like a musical instrument, convincingly performing their part, memorable and moving the entire performance forward. The performance explores the theme of religion. "You must believe so much that God will reward you with Love. And love is God. There is so much love and joy alive in the actors in the performance. Everything is simple, and this simplicity holds a special charm."
Armine Oganesyan
"Laughter through tears. They say that if a person has sad eyes, they understand something about life. This is precisely the case. Y. Harmelin's talent, his ability through laughter and smiles, unobtrusively leads the viewer to very important questions that they may be trying to escape at some point. It's amazing how convincingly this material is presented, how competently and precisely it is played. In a word, everything is wonderful: the actors, the setting, the director's discoveries. I am very pleased with the attitude of the actors to their work; for them, there is no such thing as a "small role," therefore, they are great artists. A delicious performance, so to speak—a pleasure to watch, a pleasure to discuss. The playwright signifies—the director masters, digests, summarizes, and presents. He helps us understand what we sometimes try to escape from, turning on the TV, turning our heads—very unobtrusively, very delicately, but surely. Straight to the soul. To the very heart. “As it turns out, serious things can be said very simply.”
A concert of sign language songs, "WE ARE CHILDREN OF THE BIG CITY," a master class by Olga Sofrikova, actress of the State Academic Drama Theatre "From Rose Street," with actors of the State Academic Drama Theatre "From Rose Street" and students of the theater department of the Slavic University of Moldova (Chisinau, Moldova)
Aurelia Georgieva
"As a perfectionist, I absolutely enjoyed this. This is precisely the kind of performance where synchronization dramatically enhances the emotional impact. It's a very difficult technique to achieve, requiring actors to demonstrate the highest level of skill, technical literacy, a sense of the stage, partnership, and a lack of competition—all those things that seem self-evident at first glance but prove so difficult to achieve in real life. I was a participant in a tremendous emotional uplift. This masterclass can be considered a fully realized repertory production, as it features the development of characters, dramaturgy, and emotional intensity, all of which fully qualify it for the title of a full-fledged stage production. In short, it's a brilliant work, and I wish it a long life on stage."
Karine Khodikyan
"Throughout the entire viewing, I enjoyed the musical selection: the lyrics, the unique script, which ultimately builds to a meaningful and emotional arc. The artistry and colossal work with the actors are evident. It's amazing how vitally important things acquire artistic expression. The very purpose of this work is worthy of respect. Heartfelt material, performed with passion. A ray of light, from eyes overflowing with emotion and experience, shot into the audience, and they, in turn, joyfully received it. A tremendous directorial effort. A huge thank you from the audience."
"FLOWERS FOR ALGERNON" by D. Keyes, State Russian Drama Theatre "From Rose Street" (Chisinau, Moldova)
Armine Oganesyan
“The performance was stunning. It was so adrenaline-pumping and thought-provoking! Everyone came together here: the author, the director, and the actor. The director faced a difficult task: to stage a performance based on a work of science fiction, a utopia, in a way that would be believable (and we did – and it was simply fantastic); to highlight not the story of a scientific experiment, but a philosophical theme. The actor is on stage alone with the audience – without smoke, music, or props, but you believe in their every word, every movement, empathizing from the first to the last minute of their presence on stage. An actor that the director delights in is not just a recorder of events, a storyteller – he is an observer of the life of the character. The intensity of his stage life grows slowly and gradually, unfolding step by step, his transformations and transitions from one state to another are completely imperceptible. Barely holding back tears, I give the director a standing ovation – he is so talented and wonderful. I don't like the word "brilliant", but what you did is brilliant."
Vyacheslav Tereshchenko
"This performance gave me true professional joy and profound pleasure from the actor's pure inner experience. It's a complete work of art—the resolution of the initial event, the figurative construction, and the final mise-en-scène, which is simply mind-blowing. A superb selection of material! I felt immense pleasure from the emotional impact it had on me."
Nina Mazur
"A stunning performance. A truly powerful, genuine, and honest work. I watched it literally in a state of rapture, being a generally reserved person. I thought about how poignantly the central idea is embodied and ingrained in our consciousness—the essential core of a person cannot change; it remains forever, no matter how their life changes. This performance, which even the most unsentimental critic begins to weep when speaking about, is truly remarkable. To say thank you is to say nothing. Well done!"
Karine Khodikyan
“For the first time in my life, after a performance, I couldn’t applaud, or stand up, or shout ‘bravo’… I sat huddled in a ball, crushed by a feeling of guilt that my life had turned out differently from this boy’s. This performance makes you bare all your nerves, peel off your skin, become defenseless. After the first minutes, I realized that I couldn’t look at the stage; I closed my eyes and simply listened to the text, because I couldn’t bear this naturalism, this supreme masterful performance of the artist… But then I sat with my eyes wide open, unable to tear myself away from what was happening on stage. This was his victory, he finally forced me to open my eyes. I left the auditorium: life goes on, I want to say something, but I can’t… This feeling of guilt still weighs on me. The next day is spent in thought. I have a good vocabulary, but I can’t find the words to describe this work. Her mission is to change something in each of us. The actor amazed me. This isn't just skill, it's something else, it comes from the heart. Yesterday I couldn't say anything, and now I don't say what I feel. I bow my head. Thank you."
Nadezhda Aksenova
"There are no words—it's so emotional and profound. A very powerful impression. I'm glad your theater offers such a kind, intelligent, and instructive production. Brilliant performances and acting."
Aurelia Georgieva
"This isn't just a performance; it's a monumental cultural, philosophical, and scientific and medical ethical phenomenon. The question arises: how deep can we go? It seems clear that stopping is impossible; progress and the pursuit of understanding the world are irreversible. But what price are we willing to pay for it? As a member of civil society, I asked myself these questions after this performance. In my view, what I witnessed transcends the human realm and goes far beyond the boundaries of contemporary theater and theater in general."
FUNNY OLD MAN, T. Ruzhevich, Ara Asaturyan Theatre (Yerevan, Armenia)
Vyacheslav Tereshchenko
"In terms of acting, direction, and composition, this is a very strong, convincing, and well-crafted production. I felt the powerful impact of the actor; it was fascinating to watch him, his understanding of the text and his accumulated life experience were palpable. He is very expressive and thoughtful. The emotional outbursts were also justified by the staging. The rondo technique was perfectly suited to the material. The director's immense, loving collaboration with the actors is palpable. This is a production that speaks of purity in all its manifestations: form, soul, and the world as a whole."
Nina Mazur
"We were presented with a clear story of a maniac's mental torment. The cyclical nature of madness, its classic sequence, was conveyed with great precision. On stage, an actor performs his work with intelligence, soul, and talent, moving beautifully, with a sense of schooling behind him. This performance breaks from the festival's overall tone, cutting a certain angle into the vibrant and delicate fabric of the festival program. There is no hope in it. A performance about the terrifying abysses lurking within a seemingly inconspicuous person. It is as necessary as terrifying things in the work of higher powers."
Aurelia Georgieva
"On stage, we see a versatile, handsome, and flexible actor. The performance leaves a long, lasting impression. Some time after watching, you involuntarily return to it and try to figure it out, asking a series of questions. Was this a peek at a maniac or a glimpse of the degradation of an antisocial individual, reaching the point of radical madness? Or perhaps it's a justification for a particular socially difficult story? Perhaps it's all one, two, or three... This is precisely the emotional charge that modern theater should evoke in its audience."
"HARVEST" by P. Pryazhko, City Drama Theater (Nizhnevartovsk, Russia)
Nadezhda Aksenova
"Brilliant performances, undeniable, absolute faith in the circumstances. The author's contemporary language and text form, and the organic way they use it, are captivating. The play demonstrates the degradation of Russian speech in the social media space, where we speak in simplified words and strange abbreviations."
Karine Khodikyan
"This production is a very original presentation of pure tragedy. A casual viewer might leave the theater feeling great, but another might walk away with a sense of hopelessness. Everyone can take something from it. I really enjoyed it. Excellent acting and a wonderful ensemble. Thank you for a wonderful, honest, and conscientious production."
Karine Khodikyan
"This production is a very original presentation of pure tragedy. A casual viewer might leave the theater feeling great, but another might walk away with a sense of hopelessness. Everyone can take something from it. I really enjoyed it. Excellent acting and a wonderful ensemble. Thank you for a wonderful, honest, and conscientious production."
Nina Mazur
"The director posed a very serious question: where have we come from, and to whom are we leaving what? Everyone faces these questions sooner or later, especially those who have passed the zenith of their allotted time. Before us are four young people, full of enthusiasm and good intentions. But, as the saying goes, the road to hell is paved with good intentions. Ultimately, with this very enthusiasm, they destroy everything that can be destroyed. A play that seems cheerful at first glance is actually quite terrifying. Bryusov has a wonderful line: "...there are subtle, powerful connections between the outline and the scent of a flower..." These subtle, powerful connections exist in the relationships between the characters. A tender, delicate work about terrifying things that definitely makes us all think."
"HOW A MAN'S HAPPINESS WAS" by L. Tolstoy, production company "Teorikon", "Malykhy Teatr" (Moscow, Russia)
Nadezhda Aksenova
"A wonderful performance and the guys, whose creative imagination is simply off the charts. Phenomenal work with the subject, a well-structured, organic approach. At first glance, you might think it's all easy and simple, but on the other hand, you realize how much work went into it. And you know what's best? Thanks to you, we were transported back to childhood. This is an unprecedented rarity, an indescribable pleasure, a tremendous joy, and a wonderful opportunity to escape the daily grind and immerse ourselves in a world of fantasy, a world of wonder. It's amazing how you've recreated the vast inner world of the Russian people with simple means. Thank you!"
Nina Mazur
"It's rare to see fairytale-like performances at the MOLDFEST.RAMPA.RU festival, so I'm so glad I recommended this work to Yuri Harmelin. Pure, gushing joy is a rare thing. The theme of the performance is Happiness. What is it? It's such a profound philosophical question, and we get an answer. Happiness is inner freedom, independent of positions and responsibilities. It's an opportunity to create your own inner world and share it with others, to live by the laws of joy and give moments of flight. A truly worthy work. Keep up the good work, thank you!"
"LOVE IN A GLASS OF WATER" by L. Petrushevskaya, Herman Sidakov Drama School (Moscow, Russia)
Nina Mazur
"Subtly, artistically, and tenderly, the director has created a maddening space—both captivating and ominously terrifying. A shaky, shifting world of magical and terrifying imaginings, where "bad wolves" lie in wait for defenseless children who perhaps should never have been born. Or perhaps they never existed at all? This tragedy contains a point of insanity for the main character, who undergoes an intriguing transformation—from an evil sorceress to a defenseless fairy. This defenselessness is the director's most intriguing and touching achievement. Her frustrated dream of motherhood finds a Freudian embodiment through the sublimation of her characters; she tears through the fabric of her own story, entering it with these two young people, in whom she already sees her own children.
As for the acting, it's precise and charming, recognizable and captivating. What drives the characters? Genuine love or the circumstances of life that push them toward each other? How subtly the director made these characters feel more than they speak. After all, there's a vast gulf between spoken words and experienced feelings, as the world of feelings is richer than the world of words. As soon as a subtle tension arose between the characters, their lips parted and something utterly horrific and mundane was uttered. We're left smiling sadly at the imperfections of a world where, nevertheless, everything is harmonious, and everyone finds a way to fulfill their dreams.
Karine Khodikyan
"I would call this production a generous gift to the author from the director, who somehow incomprehensibly conveyed his vision of the material to the actors. A very competent, sensitive, and understanding approach. One senses a complete mastery not only of the text but also of the subconscious, the unspoken, the author's implied meaning. This is undoubtedly a great success. I love subtle works, when small details speak more about the characters' relationships than entire tirades."
"DEAR ELENA SERGEEVNA", L. Razumovskaya, State Academic Drama Theatre "From Rose Street" (Chisinau, Moldova)
Vyacheslav Tereshchenko
"When I stepped into the room where the performance was to be held, I immediately understood why this particular venue had been chosen. This is a 'slap-in-the-face' performance, and in such a small, confined space, we couldn't avoid it.
I understand that when you love a role, you want to become one with it, to dissolve in it, because you feel like it's yours, it grabs your soul, touches you, and inspires you. But, guys, you work so honestly that it's scary for you! It's an incredible, extreme fusion, a complete immersion in the material.
You have a remarkably cohesive, cohesive ensemble, each one unique and in their own right. A powerful play, a masterfully constructed composition. A theater of cruelty, a certain cry from the heart. Within each of us lives a "scoundrel" and a "saint," and every day, when we face a choice—we must decide which of them should be given the right to decide: to act according to conscience or otherwise... It makes you think. Congratulations!
Nina Mazur
"Tell me: What trace will you leave? A trace that will make people wipe the parquet floor and look askance at you, or an invisible, lasting mark on someone else's soul for many years?
The performance definitely leaves a mark on our souls for many years.
He doesn't teach anything in the obsessive sense of the word. He's above moralizing—he doesn't make you think, but rather makes you feel another person's pain. After all, deep down, each of us has long since set our priorities. We know perfectly well what is good and what is bad, but the fact is that in life we always act according to the circumstances—it's only a question of how much to compromise. Some compromises kill another person, and others remain a mere scratch on the human conscience.
"A bow... I saw their faces. They hadn't moved on from the performance. They were still shaken by the story they themselves had told us. The girl, whose rape scene literally took place at our feet, stood there, her mascara smeared before her eyes, shaking all over. And then I thought about the responsibility that rests on Yuri Harmelin's shoulders, about what fine actors and wonderful people he nurtures. Thank him for that!"
State Children's Theatre "From Rose Street", Chisinau, Moldova
The stage of the State Russian Drama Theatre "From Rose Street" November 23 (Wednesday) 12:00 T. Ruzhevich
"FUNNY OLD MAN"
Ara Asaturyan Theatre (Yerevan, Armenia)
Stage of the State Russian Drama Theatre "From Rose Street" 15:00 Master class
Mkhitaryan Marianna , actress of the National Academic Theatre named after Sundukyan, director of the International Theatre Festival of Mono-Performances "ARMMONO" (Yerevan, Armenia) Topic: "Armenian Theatre from its creation to the present day"
Small stage of the City Theatre Lyceum 17:00 L. Zorin
"WARSAW MELODY"
Pilies Theatre, Klaipeda, Lithuania
The State Academic Drama Theatre's "From Rose Street" stage, 5:00 p.m., Gorin
"THAT VERY MUNCHAUSEN"
State Drama and Comedy Theater named after N. S. Aronetskaya, Tiraspol, Moldova
stage of the National Theatre "Satirikus I. L. Karadzhale" 21:00 D. Kiz
State Children's Theatre "From Rose Street", Chisinau, Moldova
The stage of the State Russian Drama Theatre "From Rose Street" November 24 (Thursday) 12:00 P. Pryazhko
"HARVEST"
City Drama Theater (Nizhnevartovsk, Russia) stage of the State Academic Drama Theater "From the Street of Roses" 17:00 P. Zyuskind
"Double Bass"
Azerbaijan State Theater for Young Spectators , Baku, Azerbaijan
The stage of the State Academic Drama Theatre "From the Street of Roses" 9:00 PM. Dos'ko
"LONDON"
Mogilev Regional Drama and Comedy Theater named after V. I. Dunin-Martsinkevich (Babruisk, Belarus) stage of the State Academic Drama Theater "From the Street of Roses" NOVEMBER 25 (FRIDAY) 12:00 L. Petrushevskaya
"LOVE IN A GLASS OF WATER"
Herman Sidakov Drama School, Moscow, Russia
Stage of the State Russian Drama Theatre "From Rose Street" 12:00 "Let's rejoice! - Freyen Zikh iz Git!"
YiddishLid Song Theater (Or Akiva, Israel) stage of the KEDEM Jewish Cultural Center 15:00 based on the play by E. Bulova, interpretation by M. Sokhar, P. Khodzhaev
"BLACK WITCH"
Master class for actors from the V.I. Dunin-Martsinkevich Drama and Comedy Theater, Bobruisk, Republic of Belarus
Small stage of the City Theatre Lyceum, 17:00, A. Barikko
"NOVECHENTO"
Theatre "Shchukin Graduates", Moscow, Russia.
Stage of the State Russian Drama Theatre "From Rose Street" 20:00 L. Razumovskaya
State Children's Theatre "From Rose Street", Chisinau, Moldova
The stage of the State Academic Drama Theatre "From Rose Street" 14:00 Final press conference
stage of the State Russian Drama Theatre "From Rose Street"
Expert Council
Nina Mazur is the chief consultant of the Moldfest.Rampa.Ru festival laboratory, a theater scholar, theater critic, playwright, and member of the German Center of the International Theater Institute (ITI). She is also Vice President of the International Monotheatre Forum at the International Theater Institute (UNESCO) and a personal member of the International Association of Theatre Critics (UNESCO). She is also a member of the German-Russian literary society "Die Fähre" (Germany, Hanover) and the International Association of Writers and Journalists (APIA, London). She is also the artistic director of the International Theater Festival "MOST" (Germany). (Hannover, Germany)
Vyacheslav Tereshchenko is a director, head of the Moscow Shchukin Graduates Theatre, a laureate of international theatre festivals, a PhD candidate in psychology, an associate professor at the Boris Shchukin Theatre Institute at the Yevgeny Vakhtangov State Academic Theatre, and the author of books and articles on acting and directing (Moscow, Russia).
Karine Khodikyan is a playwright, novelist, publicist, and screenwriter. She is the founder and editor of the Aybengir Publishing House and the Dramaturgy magazine, and Deputy Minister of Culture of the Republic of Armenia (2004–2008) (Yerevan, Armenia).
Armine Oganesyan , Deputy Director for Creative Projects and Audience Relations at the Roman Viktyuk Theatre, and Theatre Critic (Moscow, Russia)
Nadezhda Aksenova is a research fellow at the Institute of Cultural Heritage of the Academy of Sciences of Moldova, Department of Theatre Studies (Chisinau, Moldova).
Honorary guests of the festival
Tatyana Chepurnaya — President of the International Festival of Chamber Performances "MOST", Chairperson of the Tolstoy Society of Hanover (Hannover, Germany)
Svetlana Suslova is the organizer of the “Magical World of Theatre” project (a tour of theatre companies to Cyprus) (Limassol, Cyprus)
Iddo Netanyahu is a playwright, writer and publicist, a radiologist, and a former Israeli special forces officer (Jerusalem, Israel).
Tatyana Sobol - head of the Department of Special Projects for Actors - EMI, director, producer, translator (Tel Aviv, Israel)
Marianna Mkhitaryan is the director of the International Theatre Festival of Monoperformances "ARMMONO" and an actress at the Sundukyan National Academic Theatre (Yerevan, Armenia).
Grigory Borovik – director, theater critic, teacher, candidate of art history, professor (Minsk, Republic of Belarus)
Oleksandr Mardan is an Honored Artist of Ukraine, writer, playwright, and laureate of the N.V. Gogol Prize (Odesa, Ukraine).
Alexander Platunov , PhD in Art History, Artistic Director of the International Theatre Festival of the CIS and Baltic States "Meetings in Russia" (St. Petersburg, Russia)
Karina Kolesnik is the executive director of the International Festival of Chamber Performances "MOST" (Hannover, Germany)
Veronika Vinel is the director of the Mogilev Drama Theater named after V. I. Dunin-Martsinkevich and the executive director of the Dunin-Martsinkevich National Drama Festival (Babruisk, Belarus).
Aurelia Georgieva is an actress, screenwriter, playwright, and theater critic (Munich, Germany).
Festival sponsors
Armine Oganesyan
"Laughter through tears. They say that if a person has sad eyes, they understand something about life. This is precisely the case. Y. Harmelin's talent, his ability through laughter and smiles, unobtrusively leads the viewer to very important questions that they may be trying to escape at some point. It's amazing how convincingly this material is presented, how competently and precisely it is played. In a word, everything is wonderful: the actors, the setting, the director's discoveries. I am very pleased with the attitude of the actors to their work; for them, there is no such thing as a "small role," therefore, they are great artists. A delicious performance, so to speak—a pleasure to watch, a pleasure to discuss. The playwright signifies—the director masters, digests, summarizes, and presents. He helps us understand what we sometimes try to escape from, turning on the TV, turning our heads—very unobtrusively, very delicately, but surely. Straight to the soul. To the very heart. “As it turns out, serious things can be said very simply.”
"The White Threads." A wonderful ensemble of actors appeared before us, evoking emotional empathy. Each performer who took the stage presented themselves to us like a musical instrument, convincingly performing their part, capturing and moving the entire performance forward. The play explores the theme of religion. "You must believe so much that God rewards you with Love. And love is God. There is so much love and joy alive in the actors in the play. Everything is simple, and in this simplicity lies a special charm."
Aurelia Georgieva
"As a perfectionist, I absolutely enjoyed this. This is precisely the kind of performance where synchronization dramatically enhances the emotional impact. It's a very difficult technique to achieve, requiring actors to demonstrate the highest level of skill, technical literacy, a sense of the stage, partnership, and a lack of competition—all those things that seem self-evident at first glance but prove so difficult to achieve in real life. I was a participant in a tremendous emotional uplift. This masterclass can be considered a fully realized repertory production, as it features the development of characters, dramaturgy, and emotional intensity, all of which fully qualify it for the title of a full-fledged stage production. In short, it's a brilliant work, and I wish it a long life on stage."
"Sophisticated, but true. Straight to the soul. Right to the heart. As it turns out, serious things can be said very simply."
"The White Threads." A wonderful ensemble of actors appeared before us, evoking emotional empathy. Each performer who took the stage presented themselves to us like a musical instrument, convincingly performing their part, capturing and moving the entire performance forward. The play explores the theme of religion. "You must believe so much that God rewards you with Love. And love is God. There is so much love and joy alive in the actors in the play. Everything is simple, and in this simplicity lies a special charm."
"HARVEST" by P. Pryazhko, City Drama Theater (Nizhnevartovsk, Russia)
"The film has a very long, lingering effect. Some time after watching it, you involuntarily return to it and try to figure it out, asking a series of questions. Was it a peek at a maniac or a glimpse into the degradation of an antisocial individual, reaching the point of radical madness? Or perhaps it's a justification for a certain socially difficult story? Perhaps it's all one, two, or three things... This is precisely the emotional charge that modern theater should evoke in the audience."
“It is about purity in any of its manifestations: form, soul and the world as a whole.”
Nina Mazur
"We were presented with a clear story of a maniac's mental torment. The cyclical nature of madness, its classic sequence, was conveyed with great precision. On stage, an actor performs his work with intelligence, soul, and talent, moving beautifully, with a sense of schooling behind him. This performance breaks from the festival's overall tone, cutting a certain angle into the vibrant and delicate fabric of the festival program. There is no hope in it. A performance about the terrifying abysses lurking within a seemingly inconspicuous person. It is as necessary as terrifying things in the work of higher powers."
"LOVE IN A GLASS OF WATER" by L. Petrushevskaya, Herman Sidakov Drama School (Moscow, Russia)
