Traditions and innovation of L. Petrushevskaya's play "Three Girls in Blue"

Tragicomedy in two acts

Petrushevskaya Lyudmila Stefanovna was born on May 26, 1938 in Moscow. Russian prose writer, singer, poetess, playwright.

The first play "Music Lessons" (1973) was staged in 1979 by R. Viktyuk in the theater-studio of the House of Culture "Moskvorechye", as well as by V. Golikov in the theater-studio of Leningrad State University and was almost immediately banned.

"Moscow Choir" was staged at the Moscow Art Theater named after Chekhov and is being staged in the theater of Europe under the direction of Lev Dodin

The play "Three Girls in Blue" was written in 1980 and staged in Moscow at Lenkom. According to Petrushevskaya, the play was banned for three years.

From a letter from Semyon Losev to Lyudmila Petrushevskaya “... for me you are a classic. This is not flattery. I consider the playwright a classic who, having his own similar language, of his style, touches on an unsolvable problem. The unsolvability of the problem makes the work eternal. And such authors should be unraveled. I tortured myself and everyone around, why such a name - "Three Girls in Blue", what does it mean, how can this be expressed in the performance? I have my own version.

Yes, the struggle for a place in life, every unit of time, but in the play there is something behind the words that not only makes you fall, but also helps you rise, in the end there is the theme of motherhood, with all its troubles and joys, and this is poetry and space .

We have been working on your play "Three Girls in Blue" for a season already. We work with students (we have a branch of the Yaroslavl Theater), this will be their graduation performance. Our theater, unfortunately, has been undergoing major repairs for three years, we huddle in a residential building, but we created a theater for 50 seats and released a number of premieres, two of which were even recently brought to Moscow and, judging by the reception, played quite successfully in the Actor's House . If the release of the performance based on your play is successful, then the performance will enter the repertoire. And it will be moved to one of the three scenes after the repair is completed. (We, I hope, from the new season will have a big stage and two small ones). And successful performances live for a long time, “The Deadline” by V. G. Rasputin has been around for 10 years.

From a letter from Lyudmila Petrushevskaya to Semyon Losev:

“Dear Semyon Mikhailovich!

"Three Girls in Blue" is now rarely staged. The last time it was put in Moscow, in the Palace of Culture. Zuev. They didn't even ask me, that's fine. But they did not call (as it used to be) to see the general, to talk with the actors. They just started the show, that's all. I asked - "Did you laugh in the hall?" - They answered me: “No, what are you talking about!” And I didn't go to the premiere. And I tried so hard to make the first act funnier - in terms of language, in terms of situations. I would suggest that the remark of the Deputy Minister “I love being indoors when it rains” is pronounced with a pause after the word “rain”. In Lenkom, the hall laughed. Mark Anatolyevich, thank you. There is a scene at the airport where Churikova (Ira) crawls on her knees and screams terribly “I may not be in time!” I always started crying at the first performances and came out crying for bows.

I liked your letter so much that I posted it on my Facebook. And I keep this diary as my future book.

I answered you there.

Why Three Girls in Blue? Oddly enough, that was the name of the American comedy film of the 40s. But the sky is blue. Space. And in Lenkom they solved this problem easily - they dressed the girls in jeans. And one more thing - you found the meaning of the drama. Insoluble conflict. The audience will leave the theater, but they will not leave the performance.

Thank you for these words - "an unsolvable problem." This is the essence of drama. Thank you.

I wish you to release a performance and enter your renovated theatre.”

Staging - Semyon Losev
Scenography - Tatyana Sopina
Video editing and pedagogical directing - Mykola Shestak
Costumes - Olga Afanasyeva
Composer - Andrey Alexandrov

In the play are involved:

Ira - Valeria Ivlicheva
Svetlana - Maria Marchenkova, Tatyana Solovey
Tatiana - Anna Velichkina
Leocadia, mother-in-law of Svetlana - Olesya Nedaiborsch
Maria Filippovna, mother of Ira - Larisa Gurianova
Fedorovna, mistress of the dacha - Victoria Ostapenko
Nikolai Ivanovich, an acquaintance of Ira - Andrey Gorshkov
Valera, Tatyana's husband - Ivan Pasazhennikov, Evgeny Chernousov
Young man - Igor Bogatyrev, Alexey Solonchev
Pavlik, son of Ira - Mariana Chernousova
Anton, Tatyana's son - (participant of the children's studio)
Maxim, son of Svetlana - (participant of the children's studio)

Premiere of the play - February 1, 2017
The duration of the performance is 2 hours 50 minutes. with intermission
The performance is conducted by: Olga Afanasyeva, Asya Sukhomlinova

Three girls in blue

Program of the play "Three Girls in Blue"

Why do people like to watch family shows? Is it because the eternal chips in big family always arouse curiosity and interest?! Perhaps that is the way it is! However, for Lyudmila Petrushevskaya, this issue was finally and irrevocably resolved. For playwright Petrushevskaya, family quarrels and intrigues are fertile ground for writing fascinating stories from the lives of ordinary people.

The play "Three Girls in Blue" is exactly the case when the absurdities and stupidities of people can be really interesting for the audience. staged a performance based on the play by Lyudmila Petrushevskaya in his characteristic manner of intriguing narration.

The venerable stage director, who always feels the author's idea subtly, knows how to reveal the story in all its glory on stage. Inviting the most talented actresses to the main roles, Zakharov allowed them to feel the mood of Petrushev's heroines themselves. No, he, of course, did not leave the performance at the mercy of a purely acting game. But he allowed Inna Churikova, Lyudmila Porgina and Elena Fadeeva to feel their heroines with all their hearts and reveal themselves on stage in accordance with their talent.

The focus is on three women who are already a little "over thirty". All of them, by the will of fate, ended up in the summer at the dacha with their young sons. Each of the women is a second cousin to a neighbor in the dwelling. Each of them brings up their children alone. As often happens in life, women constantly quarrel and swear. They constantly find out for themselves which of their children is right and who is guilty in the fight started by the boys. In addition, they are constantly gnawed by the question of ownership of the dacha. Each of them considers their right to summer housing a priority. Hence the squabbles, showdowns and endless intrigues in which women are mired up to their ears. But when a neighbor pays attention to one of the sisters and offers help with the housework, the situation becomes truly anecdotal...

At the play "Three Girls in Blue" the audience does not get bored. Well-considered plot moves by Mark Zakharov, coupled with the amazing performance of the Lenkom artists, look as if you are becoming an unwitting witness to everything that happens. Of course, everything that the audience sees on stage has no profound meaning. Empty boiling feelings of envious and eccentric sisters ....

But even despite all the seeming absurdity of what is happening, the play "Three Girls in Blue" is good example masterfully staged and captivating theatrical history.

Director: ZAKHAROV MARK ANATOLYEVICH

Comedy in 2 parts

Stage edition of the theater

Premiere - 1985

Actors and performers:
Ira -
Fedorovna -
Svetlana - L. Porgina
Tatyana - S. Savelova
Valery - B. Chunaev
Nikolai Ivanovich - Yu. Kolychev
Ira's mother

Three women "over thirty" live in the summer with their little sons in the country. Svetlana, Tatyana and Ira are second cousins, they raise their children alone (although Tatyana, the only one of them, has a husband). Women quarrel, figuring out who owns half of the dacha, whose son is the offender, and whose son is offended ... Svetlana and Tatyana live in the dacha for free, but the ceiling is leaking in their half. Ira rents a room from Feodorovna, the mistress of the second half of the dacha. But she is forbidden to use the toilet belonging to the sisters.

Ira meets her neighbor Nikolai Ivanovich. He cares for her, admires her, calling her a beauty queen. As a sign of the seriousness of his feelings, he organizes the construction of a toilet for Ira.

Ira lives in Moscow with her mother, who constantly listens to her own illnesses and reproaches her daughter for leading the wrong way of life. When Ira was fifteen years old, she ran away to spend the night at the stations, and even now, having arrived home with a sick five-year-old Pavlik, she leaves the child with her mother and quietly goes to Nikolai Ivanovich. Nikolai Ivanovich is touched by Ira's story about her youth: he also has a fifteen-year-old daughter, whom he adores.

Believing in the love of Nikolai Ivanovich, about which he speaks so beautifully, Ira follows him to Koktebel, where her lover is resting with his family. In Koktebel, Nikolai Ivanovich's attitude towards Ira changes: she annoys him with her devotion, from time to time he demands the keys to her room in order to retire with his wife. Soon the daughter of Nikolai Ivanovich learns about Ira. Unable to withstand his daughter's tantrum, Nikolai Ivanovich drives away his annoying mistress. He offers her money, but Ira refuses.

On the phone, Ira tells her mother that she lives in a dacha, but cannot come for Pavlik, because the road has been washed out. During one of the calls, the mother reports that she urgently goes to the hospital and leaves Pavlik at home alone. Calling back in a few minutes, Ira realizes that her mother did not deceive her: the child is alone at home, he has no food. At the Simferopol airport, Ira sells her raincoat and on her knees begs the airport attendant to help her fly to Moscow.

Svetlana and Tatyana, in the absence of Ira, occupy her country room. They are determined, because during the rain half of them was completely flooded and it became impossible to live there. The sisters fight again over the upbringing of their sons. Svetlana doesn't want her Maxim to grow up squishy and die as early as his father.

Ira suddenly appears with Pavlik. She says that her mother was admitted to the hospital with a strangulated hernia, that Pavlik was left alone at home, and she miraculously managed to fly out of Simferopol. Svetlana and Tatyana announce to Ira that they will now live in her room. To their surprise, Ira doesn't mind. She hopes for the help of her sisters: she has no one else to count on. Tatyana declares that now they will take turns buying food and cooking, and Maxim will have to stop fighting. "There are two of us now!" she says to Svetlana.

You have read the summary of the comedy "Three Girls in Blue". We also suggest that you visit the Summary section to read the presentations of other popular writers.

LVI International scientific and practical conference "In the world of science and art: issues of philology, art criticism and cultural studies" (Russia, Novosibirsk, January 20, 2016)

Collection output:

"In the world of science and art: issues of philology, art history and cultural studies": a collection of articles based on the materials of the LVI international scientific and practical conference. (January 20, 2016)

ARCHETYPE "HOUSE" IN THE PLAY "THREE GIRLS IN BLUE" L.S. PETRUSHEVSKAYA

Verbitskaya Galina Yakovlevna

cand. art history, Assoc. Department of History and Theory of Art, Ufa state academy arts them. Z. Ismagilova,

Russian Federation, Ufa

Frantseva Maria Vyacheslavovna

4th year student of the Ufa State Academy of Arts. Z. Ismagilov,

RF, G. Ufa

Email:

ARCHETYPE “HOME” IN THE PLAY “THREE GIRLS IN BLUE” BY LIUDMILA PETRUSHEVSKAYA

Galina Verbitskaya

candidate of Art, assistant professor of history and theory department Zagir Ismagilov Ufa State Academy of Arts,

Russia, Ufa

Maria Frantseva

4th year student Zagir Ismagilov Ufa State Academy of Arts,

Russia, Ufa

ANNOTATION

The article is devoted to the archetypal imagery of L.S. Petrushevskaya "Three Girls in Blue" (1980). The author considers female images plays by L. Petrushevskaya according to the archetype of the Great Mother and the archetypal category "House".

ABSTRACT

This article is devoted to archetypical imagery in the play “Three girls in blue” (1980) by Liudmila Petrushevskaya. The author analyzes female characters of this play according to archetype of Great mother and archetypical category “Home”.

Keywords: Ludmila Petrushevskaya; archetype; Great Mother; "House"; archetypal image.

keywords: Liudmila Petrushevskaya; archetype; The Great Mother; “Home”; archetypical image.

For each person, the concept of "Home" has sacred meaning. Home is the place where we are expected. Shelter, food, comfort, your own quiet corner where you can wait out the cold and hide from the hardships of the outside world - all this somehow unites the concept of “Home” in the human mind, pouring out into expressions familiar to everyone from childhood: “my house is mine fortress”, “home is a full bowl”, “at a party it’s good, but at home it’s better”. Thus, the concept of "House" acquires the properties of an archetype - "original image", "prototype" (according to C. G. Jung), uniting the universal collective unconscious.

In her autobiographical essay “The Little Girl from the Metropol”, L. Petrushevskaya recalls her childhood, overshadowed Stalinist repressions and war: “We are no longer at home. These are not our two rooms at the Metropol. We are with strangers. Our apartment was sealed. We are "driving". This word is from my childhood life. The father left the family, the mother was forced to leave for Moscow to continue her education - the little orphan girl stayed with aunt Vava and grandmother Valya in the evacuation in Kuibyshev. The war deprived the Petrushevskaya family of support - the feeling of “Home” - a full bowl: “I was a beggar, a wandering girl of war. We lived with my grandmother and aunt without electricity, ate from the garbage. I saw everything."

The little wanderer girl, always hungry, like other children of the war, lost her sense of home: “I fought back more and more from home. The first time I ran away in the summer already at a more or less conscious age, at the age of seven. And once, when grandmother Valya and aunt Vava decided to lock the girl in the apartment, she ran out onto the balcony and went down the fire escape: “I ran away, as it turned out, forever. The next time I saw them only after nine years, and they did not recognize me. I was already eighteen."

L. Petrushevskaya, who survived the war, a hungry childhood and many life difficulties, raised three children herself. Perhaps that is why the central figures of the writer's artistic world are the images women mothers and her child. Literary critic T. Prokhorova notes that “in the work of Petrushevskaya, not just a female view of the world is expressed, but a maternal view” - sincere, filled with love and compassion. The memory of the past with its difficulties and hardships became the basis of Petrushevskaya's personal maternal outlook on life and work. The writer lays in her heroine a divine potency - the woman in L. Petrushevskaya is the Mother Goddess. And her philosophy is contained in a secret phrase: “Circumstances have never scared me. Children are at hand, and there is a corner. Eternal and main game life, your home." For a mother who has "children at her side", life's difficulties suddenly become not terrible, as for the Great Mother, who creates the universe, there are no barriers. “The image of a woman-mother is the prototype of all great and small goddesses, mother-earth, motherland, everything that has the features of motherhood, and in general - the Great Mother. The Great Mother, giving birth and nurturing, gives birth to them all, she is that archetype that permeates all human life.

The archetype "House" as a space dominated by the archetype of the Great Mother, acquires a universal existential meaning. The house is the basis of being of each individual person. Your “corner” is like a microcosm in the vast space of the macrocosm. Famous writer, Doctor of Philology and one of the largest Pushkin researchers V.S. Nepomniachtchi considers the category “House” as follows: “A home is a dwelling, a refuge, an area of ​​peace and freedom, independence, inviolability. Home - hearth, family, woman, love, procreation, constancy and rhythm of an orderly life, "slow labors". Home - tradition, continuity, fatherland, nation, people, history. Home, "native ashes" - the basis of "independence", humanity of a person, "a guarantee of his greatness", meaningfulness and non-loneliness of existence. The concept is sacred, ontological, majestic and calm; a symbol of a single, holistic great being ". Thus, a great being is reflected in a small one - a private human life, and vice versa.

However, along with the holistic image of "Home" as a symbol of orderliness and security, there is another category, the category of "Homelessness" - a person deprived of his place in the world is doomed to wander, to search for his "corner". “Homelessness” is understood apophatically as deprivation of a home, that is, a place where a person lives (with other gr. homelessness). "Homelessness" includes two dimensions of being: social[italics mine - M.V.] as an expression of the rootlessness of a person in the fatherland and rootlessness in the social world and spiritual and cultural» .

The heroines of "Three Girls in Blue" dream of finding their "Home" both in social and spiritual terms. IN the art world Petrushevskaya "House" is a saving haven for the seekers and the destitute, wandering and homeless souls. Second cousins ​​Svetlana, Tatyana and Irina meet together at an old dacha near Moscow, where each hopes to find peace and their own place for a peaceful life. But this space is too small, which causes flare-up quarrels, antipathy and constant attempts to divide the “House” into parts.

Irina: “I say: guys, run in your half! They say it's not your house and that's it<…>Why is this: not your home? And whose is it? Theirs, or what, the house? They occupied and live, but I have to shoot! And I'm just as much an heir as they will be. I also have the right to that half! - this is how the idea of ​​a disparate shaky "House" arises in the play, in which there is no comfort and balance.

In Three Girls in Blue, the space of the House is presented in two forms: this is the Moscow apartment of Maria Filippovna, Irina's mother, and the dacha of Aunt Fedorovna near Moscow. In the chambers of the "terrible" mother, Irina does not find a place for herself, she runs away from her with her little son to a dilapidated dacha. It is still easier for her to endure the hardships of rural life than to stay under the same roof with a snarky mother. Irina has been a wanderer since the age of 15: paradoxically, having a house in the social sense (mother's apartment), she is spiritually homeless. Spiritual homelessness pushes her to search for the "House" of the soul.

Nikolai Ivanovich: “Listen, Ira, is this your own house?”

Irina (angrily): "Yes! Own! Grandma's aunt."

Svetlana: "Ph! Her home. Well, you think! Tanya will be pissed off! Her home! .

The sisters slander, divide the house into territories, harass and sting each other with accusations: they are so different, but still one thing unites them - the desire to find spiritual and spiritual refuge from the harsh outside world.

Alien sisters are trying to remember their common relatives, but only the owner of the dacha, the old woman Fedorovna, manages to do this: “I am Fedorovna. It was my husband Panteleimonovich. There were twelve of them: Vladimir, this is mine, Anna, Dmitry, Ivan, Nadezhda, Vera, Lyubov and their mother Sophia, I don’t know the rest ... Ah, you are some kind of grandchildren. Petrushevskaya weaves into the narrative the Christian motif of the three sisters Faith, Hope and Love, born from mother Sophia, the goddess of wisdom. The archetype of the Great Mother invariably holds together the union of three sisters, albeit different, almost alien, but sisters nonetheless. Women cannot remember the past, because the family connection has long been lost, as well as the understanding of the "House" - a full bowl. Their house has long since fallen into disrepair. The old roof is cracked.

Svetlana: “My Leocadia sat down and sits. Afraid of the rain, apparently. That she will choke lying down.

Tatyana: “In general, there are so many holes in the roof! In general, a nightmare, one sieve was left in one winter.

The “house” without a custodian owner loses its integrity, it is no longer a home that protects from adversity, but an old rotten trough. The summer promises to be rainy and the "mute" old woman Leocadia is trying to escape from the impending disaster. Svetlana notices with alarm: “My Leocadia is sitting with an umbrella, she is all crooked. He knows he's waiting for the flood." Rain and the expectation of a flood goes back to the archetypal symbol associated with such apocalyptic mythological representation of the end of the world as the Flood. In the Christian tradition, which is closest to L. Petrushevskaya, this idea is embodied in the biblical story of Noah's ark, which shelters all living creatures from deadly disaster.

An old dacha with an ever-leaking roof in the play "Three Girls in Blue" acquires the meaning " House-ark". The sisters and sons fearfully await the "end of the world", but Irina, driven out by them to the covered veranda, as the bearer of the divine name of the goddess of peace and tranquility, saves everyone from the Flood. At the end of the first picture, Petrushevskaya solemnly describes in a remark the rescued relatives, marching in a stately procession - the author's remark: “Fedorovna is ahead, still with the same trough over her head, then she goes, raising the collar of her jacket, Valery with two folding beds, with a backpack. Tatyana leads after him, covering Anton and Maxim with the skirts of her cloak. The boys have a kettle and a saucepan in their hands. Svetlana closes the procession, leading by the arm Leocadia, an old woman under an umbrella. Svetlana has a suitcase in her hands.

The power of the Great Mother is ambivalent: it can be destructive like the elements of nature, but it is also creative in the role of the giver of life (Mother Earth). So in the female, maternal world of Petrushevskaya, the transitions from enmity to peace for the sisters occur instantly. A woman in Petrushevskaya becomes like a goddess, who is given through everyday life to restore the harmony and integrity of the world. In the Karamzin Village Diary, the writer’s lines about the life-giving function of a woman sound like a prayer: “... they / create every minute / food / peace / cleanliness / well-fed / healthy / sleeping / clean / children / husbands / old people / forever and ever” . A woman by L. Petrushevskaya is capable of creating a cosmos out of chaos - so will Irina, whose name contains the creative potential of the “goddess of peaceful life”.

According to the symbolism of the archetype of the Great Mother, researchers consider the category "House" as an "ever-bearing mother's womb". Just as the Mother's womb protects the baby, the space of the "House-Ark" - Irina's small veranda will protect mothers and children, old women and men from trouble. Fedorovna will peacefully say: "We'll all fit, nothing, I have a room of sixteen square meters, it's warm, dry." So a tiny space becomes the focus of warmth and comfort, saving all living things from inevitable death.

In the Christian tradition, faith and love are seen as the foundation of the spiritual "Home" of every Christian. "God is laying the foundation christian church, declaring Jesus Christ the son of God, and his apostles - living stones, one of which received the name Peter (Greek "stone"). Spiritual cement in the construction of the Christian "House" is love. And Christ is compared in the New Testament with the bridegroom, the Church with the bride, which creates the image of a loving conjugal home.

But women, single mothers of Petrushevskaya are left without male love and support. In the female world of the heroines of Three Girls in Blue, there are no men who can take on the role of Carpenter Savior. None of them, neither Valerik nor Nikolai Ivanovich, will take responsibility for saving the "House" from the Flood. Single women are forced to cope with their problems on their own, without hope for a man's shoulder. Valera Kozlosbrodov, ex-husband Tatyana, with his dislike for physical and intellectual labor, will contemptuously reject this request, and Nikolai Ivanovich, Irina’s lover, is not going to spend at all (“I don’t promise this. (Funny.) That’s when it will be yours! And I’ll cover the common with them ?") . He is one of those who take, not give. Gosplanovets boastfully tells Irina a story about how he built a “cooperative” for another mistress, but as soon as the relationship ended, he took his own: “Over time, my daughter’s apartment will be there. Everything came in handy."

A man in the matriarchal world of Petrushevskaya is not capable of creating a “House”, as a social and spiritual being, but only of building a village toilet. The sarcastic tone of the playwright is confirmed in the 3rd scene, when Tatyana giggles ironically in response to Fyodorovna's enthusiastic exclamations: “What a toilet he built for her! For this alone, you can rely on a person. Look what a domina is worth!” .

Such a man is not-Noah and not-Christ, loving and protecting the Church - his bride. His power is limited to the "creation" of the toilet - he is not able to repair the roof of the Ark House. All the power of the creative and saving power belongs to the woman-mother: Irina, the bearer of miraculous Love, is able to stop the plane and save her child from death at the end of the play. She is also able to restore peace and tranquility in the "House". Her joyful laughter illuminates the space of the “House” and reconciles the warring sisters: “Enough of us wandering - Yes, Lord, live!” . Where the Woman is, there is the world, there is Salvation. Irina not only saves the Ark House, she becomes the Ark herself. She hoped that she would find love with a man, but he betrayed the "butterfly bird", and then, spreading her wings over the world, she flies to save her child - her only joy that fills life with meaning. She finds peace next to someone who will always appreciate her love and warmth. Irina the Wanderer finds a “Home”, not within the walls, no, she finds it in her own soul, filled with love for her neighbor, wisdom, sensitivity of the heart and maternal compassion - the forces of great female weakness.

“Okay / live a house without a roof / play in happiness / in good weather / comfort / shelter / weak / old women and children / you are not for our rains” - these lines from the Karamzin Village Diary contain the quintessence of the meaning of the play “Three Girls in blue."

In the artistic world of Petrushevskaya, the "House" is a life-saving shelter for the seekers and destitute wanderers. But it is the woman with her creative power of maternal love that is given to save all living things from death. The loving soul of a woman-mother is the saving Ark, which protects from troubles and gives shelter to all the desperate and suffering. Irina, as the goddess of peaceful life, as the Great Mother of all that exists, returns everything to its place: love for one's neighbor, humility and acceptance of life restore cosmic order. At the end of the play, so magical and fabulous, another heroine suddenly finds speech - the silent old woman Leokadiya, Svetlana's mother-in-law. Petrushevskaya gives her a name, from Greek meaning "white", "light". The phrase she uttered (in an unexpectedly sonorous, clear voice) becomes an absolute miracle: "It's dripping from the ceiling." The shocked sisters freeze in a daze.

“The finale of the play “Three Girls in Blue” is one of the most striking examples of the “ascension” of the plot, the merging of life and being, as in Chekhov's plays. According to the meaning of "It's dripping from the ceiling" and Sonino's "We will see the sky in diamonds" - this is a consolation to all those who are suffering, desperate and lost hope. Therefore, the “ascension of the plot” is like resuscitation, like a return to life. Saving, healing maternal love in the artistic world of Petrushevskaya produces a miracle. The Mother Goddess creates the world by the power of her weakness. Irina triumphs - from now on the end of wanderings. From now on, everyone will find their own “Home”.

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