"Little Tragedies" by Alexander Pushkin

The plots of Pushkin's little tragedies are united by the idea that a person by nature wants more is capable of more than society can give him. From one play to another, we see how this multi—layered conflict (the social man - man as the supreme being) is revealed in the most complex set of possible contradictions.

This is a romantic conflict, and Pushkin's heroes are typical romantic heroes who are both insignificant and beautiful at the same time. They just found themselves in real non-romantic circumstances, where there is no place for absolute categories, and love, loyalty, generosity, and kindness are given to us in difficult and conflicting circumstances. In each particular scene, these characters strive for perfection, harmony, absolute, and each time their daring is tested for strength by everyday life, the circumstances of human relations.

After all, it's not just about money that we are talking about in the "Stingy Knight"! The hero sees in the accumulated wealth the destinies of people for whom he is now responsible and which cannot be spent just like that. The conflict of generations becomes a conflict of tradition and progress. In "Don Guan" we see a challenge to the gods, when love and passion become only a mirror in which we can see ourselves, our greatness or insignificance. In Mozart and Salieri, does Mozart see Salieri's suffering? Heroes think in higher categories, but are often unable to see what is happening next to them, and are punished for it.

"A feast during the plague" crowns the composition of tragedies, there is no reconciliation here, there is no place for the human spirit to win. But it is important that the heroes are no longer deceived by the illusions of their feelings, they feel the fullness of the imperfection of the world order, their place in it, the significance and greatness of their conflict, which they intend to continue.

One performer, who will play in all the plays, will emphasize all the features of the conflict of "Little Tragedies", will create a full-fledged and comprehensive artistic image. It is important to be able to get out of the theatrical convention to the big philosophical generalizations embedded in the text. This is a huge space for realizing the potential of the performer, and this explains the popularity of "Little Tragedies" in the theater.

Music should play an important role. Definitely alive! She will help the artists, and will create obstacles for them, overcoming which will make the action more convincing. At the same time, the most important "musical" fragment of the tragedies will be held in silence. Mozart will not play his requiem for Salieri, the two geniuses will only have to see the notes written on the blackboard to understand each other. In all other scenes, live performance will keep the rhythm of the play, emphasize the breadth of the emotional range.

The characters will exist in an empty abstract space, so the greater emphasis will be on the actor's experience. But so that it does not look deliberate, video clips will be broadcast on the screen, which will emphasize or contrast with the action.

The atmosphere of the performance, the general mood will invite the audience to participate in a conversation about human nature, about the thirst for a real full life, about the tragic in our everyday life.