| Directing: | Boris Tseitlin |
| Designer: | Yuri Kharikov |
| Music: | Stanislav Vazhov |
| Prospero, the right Duke of Milan: | Roman Yarygin |
| Miranda, daughter to Prospero (White Ariel): | Elena Krainaya |
| Red Ariel: | Rosa Khairullina |
| Golden Ariel: | Nadezhda Kochneva |
| Blue Ariel: | Lilia Zamyatina |
| Caliban, a savage and deformed slave: | Sergei Moseiko |
| Alonzo, King of Naples: | Alexander Kuptsov |
| Sebastian, his brother: | Vladimdr Zaitsev |
| Antonio, brother to Prospero, the usurping Duke of Milan: | Roman Yarygin |
| Ferdinand, son to the King of Naples: | Mikhail Merkushin |
| Trinkulo, a jester: | Galina Yurchenko |
| Stephano, a drunken butler: | Vassily Falaleev |
| Master of Ceremonies: | Vladimir Arapov |
The plot of «The Tempest» is developing on three levels. The first level is Shakespeare's story about the shipwreck and the people who saved themselves on the island ruled by magician Prospero. The second level is a story about the relations between the director and his cast. The third level is a story about the Creator, making men in his own image, and the problems originating in this creation.
The method of interpretation of «The Tempest» is connected with Antonin Artaud's ideas; he said that the true theatre had to inspire people so that their imagination could turn then into poets. The stream of images, translated by the director through the actors, must reach the spectators’ consciousness. The method of our rehearsing and performing provokes this stream of images. The author of the production, director Boris Tseitlin tries to answer the question: does an actor act because he/she is looked at or because he/she is incapable of non-acting? Can the actor play like a child who takes no notice of the audience?
«The Tempest» in the Kazan Youth Theatre is the production about the director, the actors, the spectators, the passers-by. All of us are the wanderers cast ashore. The question is in that how can our independent deeds correlate with our predestined fates. This is the main problem of the production.
Revealing reality interesting for him and comprehensible for his actors in Shakespeare's metaphysical drama, Tseitlin, of course, likened Prospero to a theatre director. He turned him into the author of the performance, the conductor, the parade commander. It is nice that this commander performed by Roman Yarygin is sufficiently modest, gentle, quiet, inclined to playing up his restricted power.
Shakespeare's magician Prospero talks to Ariel, the spirit invisible for all the others. Shakespeare's magic glass reflects incomprehensible man's association to the heavenly beings. The director of «The Tempest» remains on the level of stage being. He invents three Ariels instead of one — the med, the Blue and the Golden...
Yuri Kharikov's set design is like an elegant glove. It is beautiful and tight-fitting. Not only its surface is good. This «glove» knows all the palm's muscles, all the finger's joints and adapts to their movements and pauses. The set design of «The Tempest» corresponds not only to the actors' movements and transformations but to the movements of the public as well.
Revealing reality interesting for him and comprehensible for his actors in Shakespeare's metaphysical drama, Tseitlin, of course, likened Prospero to a theatre director. He turned him into the author of the performance, the conductor, the parade commander. It is nice that this commander performed by Roman Yarygin is sufficiently modest, gentle, quiet, inclined to playing up his restricted power.
Shakespeare's magician Prospero talks to Ariel, the spirit invisible for all the others. Shakespeare's magic glass reflects incomprehensible man's association to the heavenly beings. The director of «The Tempest» remains on the level of stage being. He invents three Ariels instead of one — the med, the Blue and the Golden...
Yuri Kharikov's set design is like an elegant glove. It is beautiful and tight-fitting. Not only its surface is good. This «glove» knows all the palm's muscles, all the finger's joints and adapts to their movements and pauses. The set design of «The Tempest» corresponds not only to the actors' movements and transformations but to the movements of the public as well.
Natalia Krymova, The Moscow Observer
Performance gallery
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