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AKing-Size Dilemma

Moscow Tims

Yury Lyubimov, the renowned 88-year-old artistic director ofthe Taganka Theater, presents anew and unorthodox staging ofSophocles'"Antigone.

Yury Lyubimov's new production ofSophocles' “Antigone“ atthe Taganka Theater begins with what could easily seem tobeabit ofthrow-away action. Anactor walks out and dumps abunch oflarge sticks onthe stage. They rattle and roll around chaotically, littering the stage with their presence. Immedi ately, agroup ofactors appears and „cleans” the stage bypicking the sticks up. They then take up
positions atthe back orthe stage where they begin bending the sticks into graceful shapes that suggest the image ofwind blowing across agrassy field.

I can't help but see inthis brief prologue Lyubimov's own metaphor for what hehas been uptofor most ofhis 88 years. First asanactor, then asadirector who built the Taganka into one ofthe world's most celebrated theaters, Lyubimov has spent alife making art. Hehas taken the mess that wepeople make ofthe world and has transformed itinto something intelligible, meaningful, even inspiring.

It ishard not tocome back tothis thought again asthe production nears its end. Felix Antipov, performing Creon, the king ofThebes, sits atcenter stage crushed bythe events that have transpired because ofhis character's doing. Creon's son isdead, his niece isdead, his kingdom isindisarray. Barely able tomuster the energy tospeak, helaments the utter futility ofhuman endeavor.

Creon's bitter, devastating admission interweaves delicately with Lyubimov's wordless preamble. Human labor may befutile, but artists still use it, even ifonly for afew moments, torise above the fray.

There issomething special about Lyubimov's “Antigone.” Itisnot somuch that this may behis strongest work inseveral years, although that istrue, too. But something else isatwork here, something deeper and stronger than any one critic's personal judgment. Lyubimov inthis show seems tohave embraced the entire human experience. What makes this doubly impressive isthat hedid sowith just afew deft strokes. The performance runs less than 90 minutes. Lyubimov cut Sophocles' play down toessentials, distilling the huge tale about Antigone conspiring tobury her dead brother Polynices indefiance ofher uncle Creon's official decree into concise, crystal-clear episodes that race forward with unrelenting speed.

Lyubimov dispensed with plot, motivation, nuance and shadings, leaving inplace the eternal conflicts and failures that define the human tragedy. Hemakes little effort tohelp orientate the spectator inthe particulars ofthe events that brought Creon and Antigone into conflict. That isnot what interests him. What every spectator certainly grasps iswhat isimpor-. tant: the eternal violence ofthose inpower against those without it; the desperate courage ofthe occasional rebel who obeys the laws ofthe gods rather than those ofmen; the moral devastation that isvisited upon the individual who has taken itupon himself torule the lives ofothers.

The visual properties of“Antigone” are vital elements inthe production's precision and lucidity. Lyubimov, aided byVladimir Kovalchuk, created anabstract but attractive environment that ischaracterized primarily byaseries ofrevolving, transparent panels inthe middle ofthe stage. These window/doors occasionally isolate characters onthe front ofthe stage, but always allow them tobeobserved bythe chorus that stands behind them. Inseveral scenes actors struggle toget through the doors before they spin around and close off passage. The exquisite costumes bythe legendary artist and film director Rus-tam Khamdamov are rich indetail and simple inline. Their primary color isapure, cottony white, although Creon wears agown ofblack.

As inmost ofLyubimov's productions inrecent years, much ofthe text issung tomusic written byVladimir Martynov. Itispredominantly flat, even toneless. This isespecially true ofthe part written for Antipov, whose croaking, gravelly voice would seem toepitomize1everything that isanti-musical. Infact, the actor's performance ofMar-tynov's monotone compositions isone ofthose rare examples oftwo artists finding anaffinity inthe disparity oftheir gifts. Antipov's hoarse deliveries ofCreon's words have the ring ofauthenticity ofarrogance, when that isnecessary, and ofsuffering when that emotion seizes him. For the final meeting ofAntigone (Alia Tribunskaya) and her doomed lover Haemon (Konstantin Lyubimov), Martynov wrote agorgeous, lyrical, understated theme that isgrounded byalow choral hum.

“Antigone“ begins asthe sisters Antigone and Ismene (Maria Matveyeva) debatewhat todofollow-ing the death oftheir brothers Polynices and Eteocles. Inadeadly conflict that shamed the family and the kingdom, the brothers killed each other inabattle for the throne. After claiming power, their uncle Creon decreed that Eteocles beburied with' honor while Polynices should beleft torot unburied. Antigone isintent onburying her fallen brother even ifitmeans her own death.

Ismene, while supporting her sister sresolve, admits she wants tolive.
“Will you violate the tsar's law?“ asks Ismene.
„Yes,” says Antigone. „And ifyou won't, I'll doitalone.”

In Lyubimov's hands, this scene, like all the others, comes across inthe form ofaparable, aclassic confrontation oftruths Antigone representing idealism and fidelity tothe laws ofthe gods, Ismene embodying the unquenchable spirit oflife.

It is, however, the series ofscenes centered onCreon that make this production what itis. Antipov's Creon first appears tousinanodious guise. Heisthe quintessence ofaleader who has subjugated himself and others toanideology, asystem ofarbitrary laws. Heisimperious and unbending. Lyubimov and Antipov both have lived through along succession ofpolitical leaders that could lend their traits tothis portrait ofCreon, but itistothe credit ofboth that they make noeffort todraw recogniz-able parallels between this specific character and any real historical prototype. They keep the likeness generalized and, therefore, more powerful for the greater resonance that offers.

We cannot help but beaffected byCreon's pleas for Antigone and his people torespect the law, nor can wehelp but berepulsed byhis willingness todrive his niece todeath for the sake ofthat law. Lyubimov isolates aclassic confrontation ofsocial and moral forces with the result that Creon emerges aslittle more than alowly demagogue. But this changes asevents unfold. Antigone hangs herself inprotest and her lover Haemon kills himself after warning his father ofthe disaster hehas set into motion. Thus begins Creon's transformation from_ victimizer into victim. Noless than Antigone, heisaprisoner ofcircumstance. An-tipov, who plays the evil ideologue soconvincingly, isequally compelling asthe man who comes torecognize how destructive his ideology really is.

Lyubimov's “Antigone” isarant against, and alament for, the sad state ofall human societies. Itisoffered and delivered simply, clearly and with undeniable power.

, 5.05.2006


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