(Русский) Пазл сошёлся. Новая постановка «Край» в театре «Ильхом»
Sorry, this entry is only available in Русский.
How to give birth to a son?
There was a strong Polish accent in Narva, or rather – Uzbek-Polish in Russian, from the Ilkhom Theater in Tashkent. The play in question was “Underground Girls,” directed by Jakub Skrzywanek – known for productions such as “Mein Kampf” at the Powszechny Theater in Warsaw and “Death of John Paul II” at the Polish Theater in Poznan, artistic director of the Contemporary Theater in Szczecin and winner of the recent “Polityka” theatrical Passport. (more…)
(Русский) Премьера бессмертной комедии Мольера “Тартюф” и выставка молодых художников “Ода радости” в театре “Ильхом” после случившегося пожара
Sorry, this entry is only available in Русский.
(Русский) Маски сброшены, масок больше нет: в «Ильхоме» вопреки обстоятельствам сыграли «Тартюф»
Sorry, this entry is only available in Русский.
(Русский) «Это спектакль о насилии, которое происходит рядом»
Sorry, this entry is only available in Русский.
(Русский) Рецензия на премьеру спектакля в театре «Ильхом» «Подпольные девочки»
Sorry, this entry is only available in Русский.
(Русский) «Белый кролик, красный кролик» — перфоманс, монопьеса, авантюра или психологический эксперимент?
Sorry, this entry is only available in Русский.
(Русский) Белый кролик, красный кролик. Куда он клонит?
Sorry, this entry is only available in Русский.
The Underground Battle For Freedom
Down In A Small Tashkent Basement, You’ll Find A Bastion Of Hope and Liberty.
Matteo Fagotto
Tashkent (Uzbekistan) – The cosy underground stage is immersed in total darkness; the seats are filled to capacity. The theatre is so tiny that the first row of spectators shares the squeaky, wooden floor with the performers.
Suddenly, the spotlights dazzle a couple of young actors, battered and dressed in rags, lying among old barrels and plastic garbage. They impersonate two desperate young addicts from a poor neighbourhood. (more…)
(Русский) “Неизвестный известный Ильхом” (к 45-летию театра)
Sorry, this entry is only available in Русский.
(Русский) “Антигона” и “Медея” Путешествие в XXI век
Sorry, this entry is only available in Русский.
(Русский) Потребность эстетического совершенствования
Sorry, this entry is only available in Русский.
“LYUDKA”. ABOUT THE OPENING NIGHT OF ONE OF THE MOST EXPECTED PERFORMANCES AT THE “ILKHOM” THEATER.
The opening night of the play by French director Antoine Gindt’s “Lyudka” took place on the stage of the “Ilkhom” Theater. The focus of the play is about a common family with a simple life and complicated relationships, consisting of three people who have the same names, the name that has become a kind of symbol of this play. Read the review about the opening night of the play by “The Mag”. Everyone who is in love with the “Ilkhom” Theater talked about the play even at the level of rehearsals. (more…)
(Русский) АЛИСА В ЗАКУЛИСЬЕ или что посмотреть в 46 сезоне в театре “Ильхом”
Sorry, this entry is only available in Русский.
(Русский) Нелюбовный треугольник: рецензия на новый спектакль «Ильхома» «Играем Стриндберга»
Sorry, this entry is only available in Русский.
(Русский) Выйти из Зумрака: рецензия на новый спектакль «Ильхома» I love you, but
Sorry, this entry is only available in Русский.
Сложный сын к отцу пришел..: рецензия на ильхомовский спектакль «Сын»
Sorry, this entry is only available in Русский.
ILKHOM THEATER: THE ABSOLUTE TOP OF CENTRAL ASIA IN THE CORRIDOR OF CULTURAL EXCHANGE
Can a theater, which has never belonged to mass art, somehow influence the outside world and bring people together in it? Does the country need its own international theater festival? Will the theater, which has already become part of the country’s history, receive the right to remain within its native walls?
Questions that remain unanswered and continue to cause judgments, reviews, remarks in social media. From the very day in early February, when clouds were gathering over the Ilkhom Theater, caused by progressive commodity-market relations, it became clear that dispersing these clouds only with the hands of people, who are not indisputable in estimates, but always indifferent to the fate of the beloved theater, will not be easy. (more…)
ABOUT THE PHENOMENON OF “ILKHOM” AND ITS TOPICAL ART.
MARCH 5, 2020 CAA NETWORK
Perhaps the most significant event in the beginning of this year in the theatrical life of the Uzbekistan’s capital city was the appeal of the Ilkhom Theater to the general public published on February 12, 2020. The famous theater, founded back in 1976, could survive even after the brutal murder of Mark Wail, the founder of the theater– the famous director in the post-Soviet era.
But today the fate of the theater depends on the decision of the authorities and the new owner of the building where the Ilkhom Theater rents premises. As stated in the appeal of the theater staff, they don’t have the means and opportunities to acquire a new building and recreate the theater in it again, and the loss of their space actually means a death sentence to the Ilkhom Theater.
Uzbekistan’s liberal Ilkhom Theatre survived decades of dictatorship. Now real estate developers could spell its downfall
The Ilkhom Theatre was an oasis of unbridled creativity in Uzbekistan under decades of totalitarian censorship. Now, a rapid wave of development designed to liberalise and modernise the nation could spell its demise.
17 February 2020
Text: Sarah Heywood-Rakhimova
Images: Courtesy of Ilkhom Theatre
To enter the Ilkhom playhouse, visitors must descend a narrow corridor lined with four heavily-inscribed marble pillars. A mingling of dust and cigarette smoke hangs in the air: the atmosphere is dense, alive with posters and props from more than four decades worth of performances lining the well-trodden path. (more…)
SOVIET MODERNISM AND THE ILHOM THEATER AS A CULTURAL HERITAGE SITE
The Ilkhom Theater, which has not yet been included in the protection list of the Ministry of Culture, has long been a double monument of cultural heritage: tangible and intangible.
It is a monument of tangible cultural heritage, because the building where Mark Wail equipped the theater was built by Richard Bleze, one of the main architects of Soviet modernism, and has all the hallmarks of an outstanding architectural monument of the 1960s (the time the design began) and the 1970s.
Only two relatively preserved buildings by Bleze remained in Tashkent, and therefore the building of the Youth House, included in the ensemble of the city center and linked to the Panoramic Cinema (Palace of Arts), must be preserved in its original form. No 4-to-5-story add-ons above an existing two-story block are acceptable. (more…)
FIRST INDEPENDENT UZBEK THEATER “ILHOM” FACES EVICTION
MOSCOW, Feb 18 — RIA Novosti (RIA News). One of the first independent theaters in the USSR – Ilkhom in Tashkent is under threat of eviction at the initiative of the new owner of the premises, according to the theater’s website.
The new owner of OFELOS PLAZA LLC sent a letter to the Ilkhom administration asking them to free the building, the basement of which the theater has been using since 1976.
Upon the receipt of letter, the theater hosted a press conference where representatives of the new owner announced that the building would be closed for reconstruction for two years. (more…)
LIFE LONGER THAN HOPE BUT SHORTER THAN LOVE
… There are no turbulent years yet,
cautious expressions …
God of trouble
on thin legs
Wanders alone aside. (more…)
THE GUEST PERFORMANCE OF THE ILKHOM THEATER ON THE SCENE OF THE CENTER FOR DRAMA AND DIRECTING (CDD). BECOME DEPENDENT ON AN INDEPENDENT THEATER.
For four days in early September, almost the whole theatrical Moscow managed to “check in” in the CDD – the Ilkhom Theater came on tour from Tashkent. Moscow expects and loves the unique theater created by Mark Wail. Reading the story of the foundation of Ilkhom, it’s hard to believe how in 1976 it could even appear – an independent non-state theater whose repertoire included Brecht, Vampilov, Petrushevskaya! (more…)
OPENING NIGHT IN ILKHOM “MOTHER COURAGE”
The new theater season of the Ilkhom Theater can be characterized by the slogan “Theater goers – Unite!”. The 44th theater season was opened with a tour to Moscow, where two performances were presented at once at the Center for Drama and Directing namely: “Tsvetaeva. Fedra” and “Dog’s Heart”. (more…)
REVIEW: “MOTHER COURAGE”
German poet and playwright Bertold Brecht began writing his play “Mother Courage” on the eve of World War II. He conceived it as a warning to the authorities, which was to sound from the scenes of big cities: “Whoever wants to have breakfast with the devil should stock up on a long spoon.” The playwright finished the play in the autumn of 1939, when the war had already been unleashed, and bitterly admitted defeat: “Writers cannot write as fast as the governments unleash wars: after all, to compose, you have to think …“Mother Courage” is late”. How wrong he was! (more…)
ART WITH NO BOUNDARIES!
Not so long ago, foreign media (including French, Korean, Danish and Portuguese) published an article “Underground”, where they talked about our theater, its history and formation.
⠀
The authors of the articles – Matteo Fagotto – Journalist & Writer and Matilda Gattoni (https://www.facebook.com/mazlorgattoni) spent two weeks in Ilkhom, during which they did a lot of work – interviews with theater actors, staff, management, Artistic managing director.
We really appreciate this attention!
⠀
Read about us on the links below and share your impressions.
⠀
Téléramá
Foreign Policy
MARK WAIL’S TASHKENT “ILKHOM” THEATER HAS RETURNED HOME AFTER SUCCESSFUL SEPTEMBER TOURS IN MOSCOW.
During four days the Center for Drama and Directing (CDD) at the Sokol had full halls. Tickets for the Ilkhom performances were sold out several months before the theater arrived. In anticipation of the tour, social media was filled with comments asking for an “extra ticket.”
In Moscow, Ilkhom showed two of its best-in-class performances namely: “Tsvetaeva. Fedra” by Vladimir Pankov and “Dog Heart” by Artem Kim. (more…)
(Русский) Самовыражение на выпуск: «Кабаре X studio»
Sorry, this entry is only available in Русский.
TRIP TO PURGATORY OR FIRST NIGHT OF “SYMPHONY”
What awaits us beyond the line? Does the heavenly office record all our actions, or rather misconduct? An attempt to cross the line, and in this case to look behind the curtain, is the opening night of the new theater season in Ilkhom. On September 8, the theater opened its 43rd theater season with another Artem Kim Lab project and again with a full house, tickets can still be purchased only for October shows. So what was the premiere prepared for us at Ilkhom? (more…)
(Русский) «Аз есмь тварь», симфония, или Все мы одинаковые!
Sorry, this entry is only available in Русский.
EQUAL OPPORTUNITIES: INCLUSIVE PROJECT – BARRIERLESS THEATER
In late July, Afshan Khan, UNICEF Regional Director for Europe and Central Asia, visited Tashkent. She held a series of meetings dedicated to protecting the rights of the most vulnerable children in society. Also, Ms. Khan visited the Ilkhom Theater, where she talked with novice young artists with disabilities and professional actors – all of them are participants in an inclusive project.
A six-month school-laboratory for people with special needs has been operating in Ilkhom. This is an inclusive theater – a platform where children with disabilities gather and create together with artists. The permanent composition of the team is a little over twenty people. (more…)
HOW YOU HEAR NOT ONLY YOURSELF IN AN INCLUSIVE THEATER IN ILKHOM
What happens on Mondays in one of the most famous metropolitan theaters?
“We hear the whole, not only ourselves, we hear the all”, with such words of Boris Gafurov, artistic director of the Ilkhom Theater, the rehearsal of the “Inclusive Theater” project begins.
For half a year now every Monday, theater actors and children with disabilities have been engaged in theatrical art – they do exercises, moo, listen to each other, literally and figuratively stretch the threads to each other. (more…)
(Русский) Премьера в «Ильхоме»: «Перо на песке»
Актер театра Максим Фадеев давний участник театрального процесса, а режиссер — относительно молодой. За ним числится уже несколько постановок на различных сценических площадках, у Марка Вайля он учился, а полтора года назад срежессировал в «Ильхоме» довольно противоречивый спектакль по роману Франца Кафки «Замок». Из наложения опытов и возникает нынешнее его художественное качество — новая работа вышла обнадеживающе существенной.
Фадеев взял пьесу «Академия смеха» японского автора-на-все-руки Коки Митани – он также пишет «мыльные оперы» и либретто для мюзиклов, назвал «Перо на песке», и сделал из нее почти двухчасовую искусную театральную дуэль двух востребованных актеров «Ильхома» — Алексея Писцова и Владимира Юдина.
Песка в постановке действительно хватает – им усеяна почти вся сцена во время действия, местами актеры его старательно перебирают, словно в поисках творческого драйва. Впрочем, ответ на вопрос, почему именно это сыпучий материал лег в основу сценографии спектакля, оставим высоколобым критикам. Возможно, таким образом, режиссер отсылает наиболее продвинутую публику к творчеству японского классика Кобо Абэ. Куда более понятными выглядят подвешенные оригами-кораблики и традиционные японские бумажные занавески, служащие своеобразным «переключателем» действия спектакля.
Сюжет действия внешне прост –драматург (Юдин) приносит цензору (Писцову) свою комедию по мотивам трагедии “Ромео и Джульетта”, чтобы получить разрешение на постановку. Цензор театром отродясь не интересовался, новую должность получил по номенклатурному распределению, улыбка на его лице не появлялась, возможно, с детских лет. Рецензент от власти просит убрать из текста смешные, «непатриотические» места, драматург-конформист пытается все переделать, но текст живет по своим законам, и пьеса с каждым разом становится все смешнее.
Намек на вечные проблемы творца и власти читается без труда. Качели между шекспировским каноном и социальной ангажированностью поднимаются режиссером на современную волну, когда со сцены звучат темы модных ныне в Ташкенте петиций, или крошечных зарплат деятелей искусства. Но ходить сейчас в театр только за актуализацией момента и ставить ради этого пьесы – дело сомнительное. К счастью, Фадеев не передергивает с социальным пафосом и решает эту проблематику в творческом ключе. Писцов, изображающий цензора непробиваемым чинушей и Юдин, играющий в рефлексию на контрасте — при всей серьезности момента, уморительно смешны.
Дуэт двух актеров превращается в яркий образец театрального хулиганства: заметить нестыковки, где комедия переходит в трагедию, а трагедия — в актерскую пикировку можно лишь только с высокой степенью въедливости. Не часто процесс работы над спектаклем становится основным сюжетом самой постановки. Творческие тандем актеров под приглядом режиссера спустя получаса действия создает один из самых смешных спектаклей, что можно сегодня посмотреть в Ташкенте.
Уже в финале герои вновь разойдутся по своим убеждениям. Драматурга потянет раскрыть истинный замысел своего конформизма, а цензор вернется в свой кабинет-ванную. Комиковать и хохмить вроде бы нет смысла. Комедия про японских Ромео и Джульетту, которые ставят друг другу клизмы с ядом, будет переписываться бесконечно. Драматурга забирают на войну, и только эта причина может прекратить бесконечные переделки. Но такова театральная жизнь, и она может оказаться длиннее человеческой. И для постановки это все-таки счастливый финал.
Автор: Дмитрий Поваров, 11 июня 2018
(Русский) СЕЙДУЛЛА МОЛДАХАНОВ: «ОСТАВАТЬСЯ СЧАСТЛИВЫМ – ЭТО ГЛАВНОЕ»
Sorry, this entry is only available in Русский.
(Русский) Не звони палачу, или Зачем Ташкенту нужны поэты
Sorry, this entry is only available in Русский.
(Русский) Рецензия. Поэтический проект «Литера» в «Ильхоме»
Sorry, this entry is only available in Русский.
(Русский) Потребность эстетического совершенствования
Sorry, this entry is only available in Русский.
(Русский) Театральная версия эксперимента профессора Преображенского
Sorry, this entry is only available in Русский.
(Русский) ПРЕМЬЕРА В «ИЛЬХОМЕ» – ФЕДРА: «ДУША: ВЕЗДЕ БОЛИТ»
Sorry, this entry is only available in Русский.
(Русский) «Жестяной барабан» в современном социальном и романном контексте
Sorry, this entry is only available in Русский.
(Русский) ГРОМКАЯ ПРЕМЬЕРА ОСЕНИ: РОК-ОПЕРА «СОБАЧЬЕ СЕРДЦЕ»
Sorry, this entry is only available in Русский.
(Русский) “ЖЕСТЯНОЙ БАРАБАН” или герой нашего времени
Sorry, this entry is only available in Русский.
(Русский) Франц Кафка и его роман «Замок»: вечная жизнь в культуре.
Sorry, this entry is only available in Русский.
(Русский) Одинокий голос человека. К Дням немецкой культуры в театре “Ильхом”
Sorry, this entry is only available in Русский.
Playing Improv
There are a few days a year when a Tashkent theatre-goer postpones his or her plans and heads to the Ilkhom theatre of Mark Weil to attend script readings. Scenic improvisations have become a well-liked tradition – they are rehearsed for a week, performed with scripts in actors’ hands, and never repeated. (more…)
(Русский) Рецензия. Дни немецкой культуры в «Ильхоме»
Sorry, this entry is only available in Русский.
(Русский) «Аэропорт» в Ильхоме: лететь нельзя остаться
Sorry, this entry is only available in Русский.
