"Flight. Bilchir history»

Friday, February 07

13th lunar day with the element Fire. auspicious day for people born in the year of the Horse, Sheep, Monkey and Chicken. Today it is good to lay the foundation, build a house, dig the ground, start treatment, buy medicinal preparations, herbs, conduct matchmaking. Going on the road - to increase well-being. bad day for people born in the year of the Tiger and the Rabbit. It is not recommended to make new acquaintances, make friends, start teaching, get a job, hire a nurse, workers, buy livestock. Haircut- fortunately and success.

Saturday, 08 February

14th lunar day with the element Earth. auspicious day for people born in the year of the Cow, Tiger and Rabbit. Today is a good day to ask for advice, avoid dangerous situations, perform rituals to improve life and wealth, be promoted to a new position, buy livestock. bad day for people born in the Year of the Mouse and the Pig. It is not recommended to write essays, publish works on scientific activities, listen to teachings, lectures, start a business, get a job or help get a job, hire workers. Going on the road is a big trouble, as well as parting with loved ones. Haircut- to increase wealth and livestock.

Sunday, 09 February

15th lunar day with the element Iron. Benevolent deeds and sinful deeds committed on this day will be multiplied a hundred times. Auspicious day for people born in the year of the Dragon. Today you can build a dugan, suburgan, lay the foundation of a house, build a house, start a business, study and comprehend science, open a bank deposit, sew and cut clothes, as well as for tough solutions to some issues. Not recommended move, change place of residence and work, bring a daughter-in-law, give a daughter as a bride, as well as hold funerals and commemorations. Going on the road is bad news. Haircut- to good luck, to favorable consequences.

PRESS RELEASE

A flourishing land left under the water column... A flooded homeland that is still alive in memory. The memories of the inhabitants of the old Bilchir, who went under water during the construction of the Bratsk hydroelectric power station, formed the basis of the production filled with symbolism. The water that covers the stage seems to be a separate character. Through it, you can see the depth of the quiet tragedy that happened in 1961. What does the Brotherly Sea keep in itself? Homeland of migratory birds, meadows lost by bees, graves of ancestors and roots of those who left their homeland forever. This story echoes the story of Valentin Rasputin "Farewell to Matyora". This performance is a message, the creation of which was preceded by a creative expedition to the Osinsky district of the Irkutsk region in the summer of 2016. Before presenting these chronicles of a lost land on stage, the actors had to soak up the stories of eyewitnesses who, bit by bit, recalled the events of those days. And it became clear that as long as the memory of the Bilchirs was alive, their homeland still lives, rises into the sky.

Roles

The performance involved: Sayana Tsydypova, People's Artist of the Republic of Belarus; Bolot Dinganorboev, People's Artist of the Republic of Belarus; Zhazhan Dinganorboeva, Honored Artist of the Republic of Belarus; Solbon Endonov, Olga Lomboeva-Ranzhilova, Bulat Sambilov, Losolma Protasova, Chimit Dondokov, Luda Tugutova, Dashinima Dorzhiev, Ada Oshorova, Zorikto Tsybendorzhiev, Aldar Bazarov, Dugar Zhalsanov

production team

Author of the idea, script People's Artist of the Republic of Belarus, Honored Worker of Culture of the Russian Federation Sayan Zhambalov
Director: Soyzhin Zhambalova
Artist: Olga Bogatishcheva (Moscow)
Choreographer: Maria Siukaeva (Moscow)
Musical arrangement: Soyzhin Zhambalova
Assistant director: Honored Artist of the Republic of Belarus Darima Damdinova
Translation into the Buryat language (dialect of the Osin Buryats): Bulgita Urbaeva-Khalmatova

Additional Information

The performance is in the Buryat language (in the dialect of Osinsk Buryats) with simultaneous translation into Russian
Performance duration: 1 hour 30 minutes, no intermission
Premiere took place: October 29-30, 2016
In September 2017, the performance “Flight. Bilchir History" took part in the prestigious youth forum-festival "Artmigration" in Moscow.

Arjun Angabaeva: "Flight. (Bilchir story)"" What words are needed to describe the feelings when your house is taken away from you? #stormtheater found words, songs and dances, they found the thinnest blade through which all the spectators passed. Balancing between: crying or laughing along with all the actors, or rather their heroes. There is no real revolution in the head. after the performance, there were no words left, there were only emotions and trembling throughout the body. I'm not retelling the play, because probably everyone had a chance to read Rasputin's "Farewell to the Mother"". But I admire our theater once again. Well done for not being afraid of water on the stage, but dancing so that by the end of the performance they were already dry! Soyzhin Zhambalova, it is not enough to admire you, I long for your new productions! Manai Khuramkhaanay artistnuud bahal naada ene zuzhegde, Lyudmila Tugutova, Bulat Sambilov @bulatsambo khusher baiga gu, erhuugey dialecteer zugaalha? khalta adli bina, minii shagnahada) Lyudmila Tugutova hurguuliin baikhada Kurumkanai ensemble khatardag baiga, Evgenia Buyantuevna hodo omogorhodog baigan. Ene zuzhegde beee hain haruulaa, hain khataraa)) I only want to say: Burkhan, khairlysh. #stormtheater #burdram #SoyzhinZhambalova Aryuna Angabaeva

Saryuna Rinchinova: Today the premiere of the play "Flight" based on the work "Farewell to Matyora" by V. G. Rasputin took place.
The case when there are no words to say anything! Very soulful, bright, to the depths ... I bow to our theater artists. Get used to the role, feel what the people who said goodbye to their village felt! A whirlwind of thoughts in my head! By the way, the Irkutsk dialect is very understandable, not much different from ours!
Thank you @aryunaa1997 for a great evening!
#remember who you are #progress for the sake of progress is not always good #don't forgetyourroots

Dilyara Batudaeva: Yesterday the three of us went to the theater - three friends. They left their children and husbands and left. One of us followed the call of the heart, the rest out of curiosity - we wanted to learn something new, so we went. I knew that in this Buryat "Farewell to Matera" they would not cry and be killed. They will not revel in grief and blame. There was a warning somewhere. But it turned out that in the middle of the performance my girlfriends cried. I sit between them and watch now with my left eye, now with my right, how they wipe away their tears. One is a Buryat speaker, the other is not. And both are crying.
There are Buryat words that are difficult to translate into Russian. There are the same concepts - untranslatable.
Here are the spirits on the stage smoking. I did not immediately understand that these were spirits, but for some reason I remembered how Western Buryats make offerings to spirits with cigarettes ... I remembered how shamans smoke. She shivered. Creepy. Suddenly you realize that you are looking through the water at those who have remained under it forever. And continues to live. And to arise in the memory of those who are still here in this world - those who lost, left their native lands - fertile pastures and fields. All of them are now under the waters of the Bratsk reservoir.
The performance is water - the stage is flooded with water. In the splashes of water, in the heaviness of wet clothes, the actors of the theater sing and dance with desperate joy, smiling through their tears, through sobs that they dutifully do not let go. And from this goosebumps. And the crushing bureaucratic chariot, controlled by an evil spirit, rolls along the fate of people, burying the conscience of some of them under it. And now this conscience will never be at rest.
Yes, I forgot the most important thing ... "Flight. The Bilchir story" is the name of the performance. Buryat State Academic Drama Theatre. H. Namsaraeva. Soyzhin Zhambalova staged. There is simultaneous translation. A story told with feeling, a find of the national theatre.

Mila Milova: The performance is very tragic! The plot reflects the documentary historical events of the Osinsk Buryats, who had to leave Toonto Nyutag. The fraternal sea keeps a terrible story, everything went under water. I liked how the actors play it, first of all, the dialect of the Irkutsk Buryats, costumes, it all happened on the water, the actors sing and dance well, in one word they were able to show what really happened, in The performance has fragments and memories of the old indigenous people of Bilchir. The audience was mainly Irkutsk Buryats (because they have something to remember the events of their ancestors), there were a lot of elderly people, you can even call them very old, 75-80 years old! It was as if I found myself in the community of Khudar Buryaad. After the end of the performance, people applauded standing for a long time and no one rushed into the wardrobe to have time to get dressed, as happened after the concert of Chingis Radnaev, before the concert was over, people rushed like a herd (excuse the expression) into the wardrobe.
Soyzhina Zhambalova, director of the play, respect!
The evening was a success, there were good impressions about our actors, in general about the theater

Ekaterina Erdyneeva: Flight. Bilchir history.
Who are you if not a man of your land? And what can you say about yourself if there is no place in your heart for a small homeland?! Do you have the right to declare yourself as existing, real, if you cannot show people your lullaby?!
"Flight. The story of Bilchir" is people's bitter memories of the ridiculous mistake of the government, which took away their right to a full life. The heroes want to stay on their land, but there is an order from the state and no one has the right to disobey. They face a difficult choice - to abandon their homes, property, livestock or stay on their land, risking disappearing with it under water. In the first case, a person loses his soul, in the second, his life. The heroes are hysterical, expressing through dances, songs and hopeless laughter the full severity of the loss. And now the choice is made, but are they happy? Now their restless souls are in constant search of their true "I".

The performance is in the glorious Buryat Drama Theatre! Here and only here you can fill your heart with the wisdom of a true Buryat. Do not forget your roots, your traditions. Without them, we are nothing!

Ekaterina Pecherkina: The fourth performance that I saw at "ArtMigration" - the production of Soyzhin Zhambalova "Flight. Bilchir story" of the Buryat Academic Drama Theater. As in the first performance, the actors speak their native language (now it is Buryat, of course). As after the first performance at "ArtMigration" there are a lot of emotions. I'll try to tell you everything.
The plot is based on episodes from the story "Farewell to Matyora" by Valentin Rasputin, as well as the stories of eyewitnesses of those events. The whole performance is built on conveying to the viewer the pain of people who leave their homeland. Through various techniques, the artists succeed perfectly.
I was very impressed with the set design. On the back is a huge canvas hanging to the floor, and closer to us, almost the entire stage is water. Ankle-length, of course. At first you don’t notice it, but when the artists go on stage, you can see and hear how the water splashes. She becomes a full-fledged heroine in this production.
Here's the weird thing. I don't know what to call this show. You can call it a plastic drama, but there is so much speech of the characters that the language does not turn. And it's hard to say that it's just dramatic, because the main component of the production is dance and music. It is on this that everything is built. I will mention it in this paragraph: the artists sing very well. Beautiful staged voices of the actors together sound very harmonious. I wanted to join them myself (sorry, I don’t know the words). Also with dancing. The artists are doing pretty well. This is provided that the girls are wearing long dresses to the floor, these dresses are wet and heavy, but this does not bother them in any way. Of course, dancing on the water looks very epic. Like a fountain or even a raging river. I honestly don't know how to describe it to you. This must be seen with your own eyes.
There are a lot of tricks in the play. I will describe a few that hooked me the most. The first, of course, is the episode when each of the actors took an object (a chair, a suitcase or a bucket), then together the actors begin to move smoothly around the stage (like a school of fish), then they stop and several actors act out an etude. During this movement, the water gurgles like a river. Slowly, it flows and whispers something. Incredibly touching. The second episode is a fire. Red light, the artists begin to repeat the word "fire" in the Buryat language. They take out little black tubes and start blowing into them. And suddenly smoke comes out of the tubes. Here is the fire! People set it on fire. So here it is not water that is the killer, not nature, but man. A man who imagines himself the king of nature.
It is curious that the performance has many finals. It was very disturbing. It would seem, that's all, period, the performance was looped: the speech that was at the beginning of the production is repeated (only instead of a young actress, an elderly one). But no. The performance continues. It seems to be the finale again: all the artists stand together with flashlights. And then no, the performance continues again. You seem to want to exhale already, but you are simply not allowed to do so.
I think I'll end here. Otherwise, it will all result in 6 thousand characters, no less. She didn't say anything about the topic. And the topic is very difficult. We had the same story in Novosibirsk, with our Ob reservoir. The artificial sea is now slowly rotting. And it's terrible. Someone's small homeland is now under water. And it's scary.
#artmigration2017 #theatre #stormtheater

Darima Dorzhieva:#this is it was magical!
Every time I watch performances with bated breath, but I especially love the Buryat Drama Theater named after Hots Namsaraev. Especially when the performance is in the Buryat language. In the play Flight of the Bilchir story there is everything: drama, laughter, tears, dances, and ballet! At some moments, I was trembling and goosebumps ran down my skin. Especially when the artists rode on the water - it was very impressive!!!
Thank you again for such a wonderful tragic performance!!!
Repost budaeva2402 (get_repost)
・・・
Buryat Drama Theatre! Great performance, great acting and dancing!!

Feedback from a viewer from Instagram @darimandarinki: People expect their expectations to be exceeded.

Unfortunately, I am not a theatrical person. To be in the theatre, stars have to be aligned for me, or a strange coincidence, well, or get cheap tickets. In addition, my past theatrical experience was unsuccessful, so I usually choose other leisure activities.

I saw performances that were too noisy and loud, too strange (even for me, a liberal person with a good imagination), somewhere I, on the contrary, lacked passion, somewhere I was embarrassed by cheap scenery, and sometimes it was just boring. There were not enough creative "chips" (where else to be creative, if not in the theater?!) and beautiful logical transitions from stage to stage. Sometimes I was painfully ashamed of the unbelievable remarks of the actors, of their touching attempts, which turned into an absurd fuss on the stage. It used to be inconvenient for a director who dared to show such bad taste, and even for money. As you can see, being neither a theatergoer, nor a director, nor even an amateur, I have rather high demands on what should be and how it should be. And as we know, people expect their expectations to be exceeded.

And, fortunately, in the life of every “non-theater-goer” there is some kind of performance that, together with your gut, turns your whole idea of the Theater, Theater with a capital letter. If you are ever lucky enough to see a poster with the play “Flight. The Bilchir story" by young director Soyzhin Zhambalova @soyzhin , part the clouds with your hands, move your daily rookery in front of the TV and be sure to take the time to watch the production.

This is a story about people who, against their will, had to part with their Little Motherland.

I can’t tell you the story - there are not enough words, you just need to feel it.

The very first thing that catches your eye is that acting, acting, comedy, call it what you want, is a hell of a job. These are hundreds of hours of rehearsals, this is the coordinated work of the actors, the director, the artist and everyone else who remains invisible, the ability to adapt to each other, this is the ability to complement and Sympathize, Empathize, maintain harmony and with the whole team of 30 people to make one whole that will make your heart to ache and rejoice, ...
darimandarinki... something that will forever steal it or smash it to smithereens. Actors, yes they live it! They believe in this story here and now! They believe, and so do we. This is the same work of a teacher, doctor or researcher, only not always appreciated. So, God forbid, to tell someone that the actors are parasites and parasites. These simple guys, whom I met in a cafe in line for burgers with cola, after the performance found a completely different sound in my heart, they became heroes for me, surrounded by my reverent delight.
I really liked the songs.
Songs as a sign of joy

as a symbol of struggle

as a sign of desperation

as a way of resistance... And only in folk songs there is this bitterness that comes from somewhere deeper than the throat, and as if a plectrum touches a string that usually dozes. And these dances are in some kind of dope: wild, natural, bewitching.

Thanks to Sayan Zhambalov, the author of the idea and the staging, such well-aimed scenes appeared in the production that literally ripped out my heart, squeezed it, tossed it up and put it back. This is dancing on the water (literally, on the water), the moment when she takes the paper with her teeth and starts dancing in desperation, this beautiful sound symphony that immediately takes us to the hayfield...
In general, I will not reveal all the chips and buns, just go when the performance goes to Ulan-Ude.
The performance is in the Buryat language. Of course, it’s hard to remember the words that I didn’t know, so I didn’t even understand part of it, and the Russian guy next to me was at first fidgeting in his chair and confused, but I understood everything anyway. Without words. To tears. To a tingle in the throat.

As for me, I roar already in the first minute of the program, when the hosts say “Hello, this is the program“ Wait for me ”. Stories that wouldn't be possible without our volunteers,” I'm already on my way to get my second pack of tissues. But I assure you, I was not alone, everyone was imbued. The hall applauded, standing, for 10 minutes and did not want to disperse. This is success. I don't remember this for a long time.
Buryat Drama Theater named after Kh.N. Namsaraeva @burdram_03, I'm moving into the slender ranks of your fans, you stole my heart, you exceeded all my expectations. Bravo!"

Olesya Krenskaya:"Flight. The Bilchir story”, shown yesterday by the Buryat Drama Theater named after Kh.N.Namsaraev at Art Migration, for all its dynamism, is very meditative. I would like to endlessly look at Olga Krupatina's impeccable scenography, inside which the artists embroider a stylish plastic pattern. Soyzhin Zhambalova staged a story based on the novel “Farewell to Matera” by Valentin Rasputin, using several ways to communicate with the audience at once: here you have the author, the stage manager, and verbatim, and documentary chronicles, including video, and intelligible choreography. In my opinion, the latter made it possible to abandon a lot, including live text, and make the story more concise and at the same time no less capacious. For those who do not know the Buryat language, and these were the majority in the hall, a running line was hung over the stage. It seems to me that she hindered more than helped, diverting attention from the artists - beautiful, flexible, light, honest.
Throughout the performance, the characters walk on water. Reception, lying on the surface, and certainly unoriginal. However, it does not irritate, and the water, weighing down the dresses and preventing the artists from moving, becomes not just an effect, but an independent character. She drives them and delays them. Documentary theater - the memories of old people who survived the events - is most successful when the face of the narrator appears on a thing that perhaps once belonged to this person: a suitcase, a window frame. At the very beginning of the performance, these household items hang or even float above the stage, creating an eerie feeling of a dead, flooded world.

16.12.2016

The Buryat Drama Theater hosted the premiere of the play "Flight. The Bilchir Story". Nina Sakhiltarova, who visited the performance, wrote the following verbatim in her article (the newspaper "Buryatia", issue of December 13, 2016, http://burunen.ru/site/news?id=14934 ). "P premiere of the performance “Flight. Bilchir History” are held with full halls (one of the chapters of the article is called “no seats”) and “nThe stop was especially liked by the younger generation, they made up the majority of the audience."

Same day on my blog Aldar Guntupov (http://aldar-guntupov.livejournal.com/17241.html), who also visited the performance, posted an article on the same topic, where he wrote the following, by the way, providing a photo as proof. We quote the caption under one of the photos: " There was no full house, many places were empty". Next quote: " about half of the audience were women of retirement age - the most devoted fans of the theater, 30% - women from 35 to 55 years old, a few girls - 10% and men - also 10%, mostly elderly. Naturally, all are Buryats. Unfortunately, I hardly saw young men, young and mature men, which, of course, is very strange and should have a logical explanation.

The question is natural - which of the two is lying?

“I went to Burdram the other day to see the Bilchir Story. I am not an avid theatergoer, but a creepy slogan: “As long as those who can tell this story are alive, the memory of those who remained under water will live,” a drowned woman in pointe shoes and The pack on the poster hooked and intrigued me.I decided to look at the next creation of our Tovstonogovs and Nemirovich-Danchenko.

On the way to Burdram, khurde appeared. Well, finally, bureaucrats from culture were honored, they gave the go-ahead for the installation! Ha ha! Probably before that they consulted, sent requests where they should:
- Isn't there a call for separatism, the intrigues of pan-Mongolists and terry Buryat nationalism here?

The Buddhist prayer wheel looks very organic and appropriate against the backdrop of the Buryat Drama Theatre. Everything is correct, as it should be - a person spins khurde, reads a prayer and with pure thoughts, having cleansed himself of worldly filth, goes to the Temple of Art.
I consider it my duty to thank the guys, without pomp and hype, who installed khurde using the folk construction method. Here they are - real men, true patriots! Thank you!

I stood in the lobby and watched. Bair Dyshenov snarled past, somehow strangely and wildly looking at me.
Mikhail Elbonov was talking about something with a tall, photogenic young man, apparently, with a sharp-sighted, trained eye, he spotted a new candidate for the role of young Budamshu. Sayan Zhambalov concentrated, all immersed in thoughts about the upcoming performance, climbed the stairs.

Headphone queue for simultaneous translation. No, I know Buryat, I just decided to play it safe in case I don’t understand some Western Buryat dialectisms.

A few words about the gender and age composition of the audience: about half were women of retirement age - the most devoted fans of the theater, 30% - women from 35 to 55 years old, a few girls - 10% and men - also 10%, mostly elderly. Naturally, all are Buryats. Unfortunately, I hardly saw young men, young and mature men, which, of course, is very strange and should have a logical explanation.

Let me summarize the content of the hour and a half performance:
The performance was based on "Farewell to Matyora" by Valentin Rasputin.
The curtain rises, on the stage - a rural gathering.
People are discussing rumors about resettlement, they are not particularly worried, no one believes that Bilchir should be flooded. Every now and then one hears greasy jokes, songs, jokes, jokes, but then the chairman appears (performed by Dinganorboev), under his arm there is a wheel - a symbol of the move.

He reads out the decision - everyone should move out by September 1961.

These are no longer rumors. Nothing to do. After grumbling and complaining, the villagers begin to prepare for their departure.
They drink moonshine, sing folk songs, remember their youth, say goodbye to the yet unflooded strawberry glades and the hayfields of Bilchir, and for the last time they mow hay out of habit.

And yet it is not easy to get used to the idea of moving: one woman is whitewashing the stove, as if she would have to spend the winter in the house, the other is looking for a cat that ran away from home in anticipation of trouble.

A cart appears, loaded to the top with suitcases. The girls take turns climbing to the very top of the pyramid of suitcases, from there they read their monologues. Arba then leaves, then reappears from behind the scenes, symbolizing the indecision of the villagers.

Dinganorboev once again enters the scene, this time he acts insidiously - he appoints, after intimidating, a responsible one from among the inhabitants, who has no choice but to agitate for the move.

Meanwhile, the houses of the Bilchirs are set on fire by specially sent brigades. Smoke billows across the stage. Burning mill, club, school. A terrible fire throws bloody reflections on anxious faces.

Water comes to the stage through special hoses, i.e. the village begins to sink.
Actors appear, dragging paper boats behind them on strings. A funny detail - the larger the actor, the larger his ship.

The chairman reappears. One of the residents tries to reason with him, but he strangles her with a hat. For about a minute he drags the convulsing woman around the stage, finally the body of the victim goes limp, she is strangled. The scene symbolizes the murder of the Motherland by the soulless bureaucratic machine.

And the water keeps coming and going. The music from the speakers gets louder and louder. The choreographic part of the production begins. Actors, raising clouds of spray, slap on the water with their feet, shod in rubber boots, do somersaults, flips, rolls, complex steps in the style of the ballet "Todes". They scatter and, kneeling down, effectively glide 3-4 meters, pouring cold water over the front rows. Dancing on the water lasts 10 minutes.

Suddenly the loud music stops. It's getting dark. Bilchir sank.
Voices are heard in complete darkness - these are the souls of the dead calling to each other, looking for each other in the afterlife.
Searchlights light up and outline the contours of figures, faces are not visible. The tormented souls of the Bilchirs ascended and found rest in heaven.

Curtain! Liquid, uncertain applause.

I will point out weaknesses. First of all, it is eclecticism, an attempt to cover everything at once: here is the struggle between the old and the new, when young people do not want to live in the "smelling manure of Bilchir", Khangalov's grave and the list of his widow's inheritance, Sakhyanova's biography, repressed Buryats, etc. There are no logical connections and smooth transitions. No sooner does one scene end than another unexpectedly follows, which does not follow from the first, but even it does not have time to unfold properly, the next one immediately begins, and so on. The director herself - Soyzhin Zhambalova noted that the performance is "a mosaic of fragments." I don’t know how anyone, but it was difficult and unusual for me to perceive disparate, poorly linked microplots, Yumov’s Mankurt seemed to me more integral, organic.

The performance is overloaded with symbols, sometimes incomprehensible, here is a girl holding an orange in her teeth and dancing. What does it mean?

God be with them with shortcomings! Let's ask ourselves a question:
- What is the play about? What is his ideological message? What is he calling for?

About what? Yes, about suffering, grief and hopelessness. For an hour and a half, the tragedy of the Bilchirs is savored, how unbearably painful it was for them, how hard it was to leave the nyutag, where their toontos are buried.

The performance does not show the victory of good over evil, justice over arbitrariness. The villagers do not make any attempts to defend their land, they resignedly submit to the party-bureaucratic dictates.

The only conclusion that you come to after watching the performance:

It is futile to resist the state machine! Resignedly submit to her will, drink to the bottom of the bitter cup of suffering, do not grumble!

Depression, hopelessness, fear of an impending catastrophe are the main leitmotifs of the "Bilchir story".

The performance turned out to be decadent, pessimistic. It would be correct to call it not "Flight. Bilchir story", but "Flood. Bilchir tragedy".

In general, the entire modern Buryat culture and art is sick with decadence and decadence. By decadence, I mean pessimism, disbelief, disappointment, and a depressive perception of reality.

Let's take cinema. Here Bair Dyshenov in "Steppe Games" shows a whole gallery of weaklings, losers, outcasts. It is difficult to call a film in which an alcoholic commits suicide, a horse is shot dead, a deputy and a young man are beaten, life-affirming. Fine Arts. The famous sculptor Namdakov does not sing of the physical and spiritual beauty of the Buryat people in bronze, instead he sculpts macrocephals with rickety bodies and crooked legs, women with flat faces and barely distinguishable eyes, hunchbacks, and dwarfs. So for many, insultingly, caricaturally, he shows the Buryats.

The well-known artist Zorikto Dorzhiev draws Buryats and again - cake faces, narrow, razor-sharp eyes, idiotic grimaces, in general, funny, ridiculous Buryats. Yes, cute, funny, funny, but nothing more. I don’t see a clear ideological message, a call for the revival of the national spirit in Zorik’s canvases, they are imbued with contemplation, detachment, and inactivity.

Someone will say that thanks to Namdakov and Dorzhiev, the whole world will know about the Buryats, but I don’t want to be seen like this:

What about literature? New novels, stories about the modern life of the Buryat society do not appear. Buryat writers, without exception, rushed to write about Genghis Khan and the Mongol campaigns. There, in the golden age of our people, they draw creative inspiration. "Flight to Genghis Khan" speaks of the deep disappointment in the surrounding reality of our writers, in which, in their opinion, there is no heroism, significant plots and interesting topics.

And our writers do not want and cannot even come up with, create a vivid image of a noble, fearless and fair Buryat like the abrek Dato Tutashkhia, the gypsy Budulai and others.

In ballet and opera, we have only the moth-eaten "Beauty Angara" and "Enkhe-Bulat Bator" staged, think about it!, 70 and 60 years ago, and that's it. And where are the new productions that meet the spirit of the times, where is innovation, where is the search, where is the experiment? How can the mythical images that set the teeth on edge inspire modern Buryat youth?

Buryat opera singers, dancers and ballerinas are incredibly talented, but why are they forced to play the same roles year after year?

Take journalism. Do Buryat journalists write about their people in a positive way, do they call for work, creation, and the conquest of new heights?
Not! The level of modern Buryat journalism is to track down and photograph a well-known politician sleeping, write that he is supposedly drunk, swear, deploy persecution, and then pass off his righteous anger and indignation as inadequacy, rudeness, aggression.

Or spread dirty gossip about who sleeps with whom, quarreled, fought, put on public display private correspondence on the net, ridicule, mock, delve into someone else's dirty laundry. Here it is - the style and unsightly face of the Buryat media! This is done by dishonest businessmen from journalism.

Well, or here is Garmazhapova - the icon of local journalists asks the question: "What is drawn with a compass?" and answers "Typical Buryat face", and further about the Buryats, that they have "faces, as if they were hit with a frying pan, that is, the shape is round and there are no bulges", etc.

It is noteworthy that the nonsense of the St. Petersburg journalist was immediately picked up and replicated by the local media as something outstanding and thoughtful.

Karma still exists - Alexandra was called "Garmazhopova".
Our Sasha, who called the Buryats to self-irony, suddenly for some reason was seriously offended, threw a tantrum. And it is characteristic that no one, except for the unforgiving Buryat people, at whom she laughed so caustically, stood up for her defense!

Decadence and stagnation also affected science. Fundamental research in Mongolian and Buryat studies has not been observed in the last 25-30 years. Scientists of the scale of T. Mikhailov, N. Egunov, G. Galdanova, Ts. Tsydendambaev do not appear. There is a compilation, shaking, recombination of the studied, printed, outright plagiarism flourishes.

Academic science is terribly far away, cut off from the people, exists in itself and for itself. Hundreds of books are published every year, but the Buryat people, about whom, in fact, these books are written, do not even suspect their existence. Buryat scientists do not popularize scientific knowledge, do not educate their people.

When you need to "go to the barricades" - to save the language, culture, raise national self-consciousness, all these professors, associate professors, graduate students - specialists in the Buryat language, history, ethnography seem to be blown away by the wind, they are not heard or seen - so strong is the atavistic fear in them before the new 37th year, they tremble so much for their places, salaries and privileges.

All of the above also applies to music and poetry, I just do not want to bore your attention, giving examples known to all.

But if only decadence! Buryat culture is also being eroded by other plagues.

For example, Yohor-mohor - unmotivated over-optimism, simulated, unnatural cheerfulness, puppy delight, varnishing of reality. In this vein, Altargana has recently been held. Laugh, sing and dance, Buryats, but don’t ask why your life is so hard and hopeless, don’t think about who is robbing your land, killing your tongue, don’t ask unnecessary questions, don’t look for the truth!

Yohor-mohor is very much liked by Nagovitsyn, the VARK old men, Timur Tsybikov, the tars and the caps, from the government boxes they look tenderly at how such a joyful and happy half-idiot dances with a blissful smile on his lips in a degel with enger:
- Wow hatarysh! Yabo, wow hatarysh!

Others strike at symbolism, aestheticism, abstruse, multi-layered films, abstract paintings, etc. that go beyond the understanding of mere mortals. Where it is necessary to speak in a simple, clear language, they complicate everything, show through a symbol, metaphor, etc. All the same "Steppe games" sin with this.

Still others go into petty-bourgeois topics, petty topics, primitivism, vulgarity, a vivid example of which is the Baikal magazine. With all due respect to the tactful and intelligent Bulat Ayusheev, there is nothing special to read there. Sometimes you are surprised about what nonsense they write, what insignificant plots the authors develop. What to do if talented writers do not appear on the literary horizon, and indefatigable graphomaniacs - for the most part, pensioners toiling from idleness fill up the editorial office with their manuscripts?

Let's go back to Burdram. Is the "Bilchir Story" an exception? No, she is just a logical link. Let's recall the latest productions, for example, "Mankurt". In the performance, suffering is again savored - the mother's inconsolable grief, the hero's amnesia, the ordeal of the people under the yoke of foreigners, again hopelessness, fear, weakness. The despot and the oppressors are not punished, the truth is powerless, the fetters of slavery have not been cast off.

And is it really possible to consider Mankurt an apostate and a traitor, as Humov tries to convince us of this? Yes, he forgot his people, became a servant of the invaders, but he did it not as a result of a conscious moral choice, but after a cruel operation, in fact, a lobotomy. The language does not turn to call the disabled person a traitor, he does not cause righteous anger and contempt, but pity and compassion.

Or, for example, "The Wind of Past Times": evil fate drives the Buryats like tumbleweeds from one country to another, they are sent like cannon fodder under cannon and machine-gun fire, the Whites rob, the Reds are repressed and shot, they are pawns in a big political game , the unfortunate Garmaev is put against the wall in the final.

And here is the logical in this series of performances-crying - "Bilchir story".
I won’t even be surprised if a performance tailored according to the same patterns, in the same spirit, will be released in six months, say, under the name “Failure” about the death of boar villages in 1862. And we will see how wild boar Buryats will rush about on drifting ice floes, their yurts and cattle will go under water, groaning and crying will be heard throughout the Tsaganskaya steppe, etc.

Or "Escape", as in the 20s the Buryats will run to the Mongolian border, where they will be met with machine-gun fire by the ciriki of Choibalsan, moaning and crying will be heard again, etc. etc.

You can come up with many variations - "Fire", "Pogrom", etc., the main thing is that in the finale there should be a groan and cry of the destitute Buryats.

Now it becomes clear why you will not see young men, youths within the walls of Burdram. A person of working age, with a healthy psyche and an optimistic outlook on life, will not go to a performance about drowned people, will not be inspired by the sight of a helpless, sobbing man.
He will stretch out disappointedly: "Again death, murder, suffering. Tired!"

What's the attack? Why do the directors, as if by agreement, endlessly show torment and hopelessness? Why will they never bring out the image of a strong, determined, strong-willed man, warrior, hero, leader, owner of his land? Why do they not sing the mind, beauty and dignity of the Buryat woman? Why, at their suggestion, should we, the Buryat-Mongols, always be on the sidelines, victims, passive and flawed, broken and reflective, unhappy and groaning, always fail?

Why?
Where does the breakdown, pessimism of the creative intelligentsia come from?

All from the fact that our artists themselves are internally not free and morally weak. The complex of a younger brother, a follower, but not a leader, was hammered into their consciousness from childhood, and, I'm afraid, forever rooted in their souls. Just as a bad seed will never give good shoots, so a weak, broken person will not be able to create life-affirming works of art. He will always avoid sharp topics, smooth the corners, no matter how he says something seditious, no matter how he incurs anger and suspicion, no matter how he passes for a rabid pan-Mongolist, etc. As a result, we have what we have: emasculated, powerless art, decadent culture.

Secondly, wherever the Buryat artist looks, everywhere he sees an unattractive picture of poverty and devastation, he feels the suffocating atmosphere of Potapov-Nagovitsyn timelessness, Buryat stagnation, which has been going on for 30 years now. And it is not surprising that pessimism, disbelief in changes for the better, deep disappointment in the surrounding reality, which, due to mental weakness, he cannot overcome, forever settles in his soul. In turn, a gloomy worldview is inevitably projected, leaving an imprint on his work.

As a result, someone without looking back runs into the golden age of the Mongolosphere, someone is disappointed and does not find colors other than black and gray in their palette, someone mockingly sculpts freaks from the Kunstkamera, others, having locked themselves in an ivory tower, cutting off ties with the people, create abstruse, not for average minds "masterpieces".

Perhaps one of the few who creates in a positive way is Solbon Lygdenov. His art is life-affirming, his language is simple, accessible and understandable to everyone. That's why many liked "Bulag", that the main character of the picture managed to overcome his weaknesses, emerged victorious from a difficult life situation, and I have no doubt that the next project is "321st", glorifying the military feat of the natives of Buryatia, also destined for success.

I do not want to offend anyone, I have deep sympathy for the Zhambalovs, indeed, a creative family respected by the Buryat people, but still I want to note that for today:

Burdrum is a theater with a very strong cast, but a weak repertoire.
Epochal, great productions that will become a revelation, plow the soul, even a mature person, make them go through the notorious catharsis-rebirth, will be imbued with the pathos of love of life, faith in the strength and capabilities of people, our viewer, unfortunately, has not yet seen. And I'm not exaggerating. The actors themselves spoke about their unwillingness to play in weak, mediocre productions in 2011, when the theater troupe wrote a collective complaint against their artistic director to the Minister of Culture.

Finishing the critical review, I will call on our creative intelligentsia:
- Down with decadence from the Buryat culture!
- Long live life-affirming, life-giving art!
Do not waste your time and talent on rubbish, do not follow the dead-end path of decadence, create genuine masterpieces - optimistic films, canvases full of light and bright colors, realistic sculptures, beautiful music and songs, books and plays about strong and noble heroes! It is they who are in demand by our society as never before, it is them that Buryat readers, listeners and viewers expect from you!

About the performances of Danila Chashchina, Maxim Didenko and Soyzhin Zhambalova

The equator of the festival, the fifth day, included the opportunity to see three performances. "In search of the author" - VR-performance by Danila Chashchina (text by Yulia Pospelova based on the play by Luigi Pirandello, youth theater center "Cosmos", Tyumen). Then there was a daytime showing of Maxim Didenko's work based on Lev Rubinstein's texts “I'm Here” (Old House Theatre, Novosibirsk), and in the evening - “Flight. The Bilchir Story” (Buryat Drama Theater named after Kh. Namsaraev, Ulan-Ude), performance by Soyzhin Zhambalova in the Buryat language based on the story “Farewell to Matera” by Valentin Rasputin with the inclusion of verbatim and documentary recordings.

The future, as you know, is illusory, it never exists, it always only "should come." It is difficult to catch him, and even more so - to make him work for himself. In the performance of Danila Chashchina, it seems that this is exactly what happened. Pirandello's play, as you know, is built on the opposition of the statics of some (characters) and the dynamics of others (artists). Understanding this, you expect some kind of theatrical breakthrough from a performance using virtual reality technologies. The beginning looks great: behind the transparent fabric, with the help of a spectacular lighting solution, another space is revealed, where the audience is invited to go. By changing the auditorium to a stage space, and even lined with chairs with the inscription "Author", you count on the fact that the creators of the performance have found an effective and modern way to connect you not from the outside, but from the inside. But, unfortunately, this expectation is not justified.

The performance looks like an attraction, but not according to Eisenstein, but like something made to simply impress, surprise the audience. Chashchin's VR-reality, unfortunately, turned out to be as divorced from the actor's and spectator's as the average quality of the video insert. The place where the audience is located is lined with green fabric - a well-known technique of those who work with the camera, because it is on a green background that you can superimpose any picture, create any illusion. But practically nothing happens in the green room: the characters of Pirandello - Pospelova (artists Sergey Osintsev, Igor Gutmanis, Evgenia Kazakova and Kristina Tikhonova) tell their story, not noticing another thirty people sitting between them. Author-director Guido (Nikolay Auzin) listens, clarifies, doubts. Packs of cigarettes, cans of energy drinks and books by Stanislavsky are scattered on the floor around him, which, apparently, means a painful creative search. At some point, the room is flooded with red light, but this powerful symbol is not even woven into the fabric of the performance, because all the spectators were warned that this was a signal to put on glasses.

In glasses - a filmed movie. More precisely, separate scenes from it. The theme of this film has been pedaled for a long time: at the entrance there were cardboard figures depicting heroes, as is often the case in cinemas; The trailer of the film was shown on the screen. Therefore, everything that happens on the stage looks more like a backstage. Well, or video in VR glasses - like flashbacks. Neither one nor the other arouses interest either in the plot, or in the montage, or in the characters. Solutions look, unfortunately, secondary, and modern technologies are illustrative. The best episode in the play is the "casting" scene. To the music that drowns out the voices, Guido runs around the perimeter of the room, filming how the actors perform his tasks. They are almost inaudible, everything happens quickly and somehow for real or something. In this episode, finally, a double reality works: I see both the actor and the frame with him on the phone. Without any points.

About the performance of Maxim Didenko, I will not repeat myself. I will note only one feature that turned out to be important in the context of the whole day. The stage embodiment of Lev Rubinstein's texts in the Stary Dom Theater works in the most accurate way to feel the moment, to feel oneself in the real present. The performative, filled presence of the actors (the performance, and then the performance grew out of the actor's trainings) in an almost plotless bewitching action works precisely for the experience of the here and now. But Didenko introduces into the fabric of the stage a powerful political sign - a portrait of Stalin. This allows you to expand the horizons of the audience, to see not only yourself at the moment of the performance, but also yourself, the world of your country through unbroken and incomplete relations with the past. A portrait from another era, presented on stage as an icon, becomes a reference point for the audience, a perpendicular from which one can start in order to find the present.

A similar feeling is sewn into the performance of the Buryat Drama Theater. Turning to the tragic story associated with the flooding of the area of the Bratsk reservoir becomes for the creators of the play the key to finding their own national identity. The story, based on the well-known text of Valentin Rasputin's "Farewell to Matera", in combination with the director's visual, musical and plastic decisions, acquires the scale of a national epic.

"Flight. Bilchir history. Buryat Drama Theatre.
Photo - the archive of the theater.

The idea to put on a play based on the real events of the village of Stary Bilchir, which was flooded by the authorities in 1961 due to the construction of the Bratsk hydroelectric power station, belongs to director Sayan Zhambalov. It was he who became the organizer of the expedition to the Osinsky district, where settlers still live; expedition, which filled the stage canvas with real stories of specific people. But the epic potential inherent in the idea, apparently, required the fulfillment of the tradition of transferring knowledge from generation to generation. The staging and musical arrangement of the performance based on the text of Sayan Zhambalov was taken up by GITIS graduate Soyzhan Zhambalova.

It is difficult to attribute it to any particular type of theater, but if you choose, I would still call it visual. This is determined, probably, already by the first scene. The smooth reflective surface of the floor is flooded with a bluish soft light. Above this surface, half a meter away, household items froze: stools, suitcases, window frames. In the center, a woman (Sayana Tsydypova) in a traditional cut suit (artist Olga Bogatishcheva) is sitting on a chair. On either side of her appear people - a boy and a girl. It’s as if these three cannot meet, they always call someone, and the one in the center says. As if for the last time, without addressing anyone, she simply speaks, because remembering is the only thing she has left. This scene ends with one of the most beautiful shots of the play: objects frozen above the floor begin to slowly rise upwards, creating the feeling that everything we see is under water - both things and people.

The architectonics of the performance is based on visual and musical coordinate systems: mise-en-scènes are strung on them, and the action is built from them. Rhythm grows by changing the axis: the pictures alternate. Even documentary evidence broadcast in video recordings becomes part of the visual solution, because the director places the projection directly on the actors (men in white shirts line up on the screen, the girl unfolds the hem of her skirt - the picture “falls” on it) or on objects that they held in hands (frame from under a photograph or picture). Young people who tell about the fate of the older generation in such a visualized way turn into the bearers of history. Through them we not only hear the story - it is during the video that the director does not translate over the stage, although people speak different languages, Russian and Buryat, mix them up - what is important is not so much what they say, but what they are , we can see them, they are directly included in the performance through the actors.

The musical axis of the performance is based on folklore melodies, but according to the will of the arranger Soyzhan Zhambalova, it seems to exist in different eras. A single theme is framed both as a folk song, which constantly appears in the performance of theater artists, and as a modern adaptation, to which stylized and very beautiful dances move, dance, and plastic figures line up. The dotted line of epochs creates a visible impression not only of the story of the tragic history of the settlers of the Bratsk region, but also, due to it, the restoration of the connection between generations, broken not only by time, but also by geography.

From this construction, those parts of the performance that are based on Rasputin's text are sometimes knocked out - the very interweaving of the artistic text and the documentary is done perfectly, the stories penetrate and support each other. But in the second part of the performance, there is a sagging rhythm that could have been avoided by shortening the text. At the same time, the performance has a rare effect when translation is often not needed: while maintaining the rhythmic organization, the Buryat language is intertwined with the melody of the performance, the pain and tragedy of the people are read intonation and with the help of other stage means.

The water that flooded the area of the Bratsk hydroelectric power station is shown in the performance not as an enemy, but as a part of life (it floods the entire floor, soaks into skirts and trousers, soars up during dances). The performance has no resistance, it is built not through painful overcoming, but through the acceptance and connection of the past and the present. And when you watch this performance, you understand that this is the only way for now. Without appropriating “yesterday” and experiencing “today”, the technologies of “tomorrow” will not work.