Fragile beauty and icy horror. National Theater Shows Long Tram Review / Day

In my memoirs, one of the most outstanding American writers, Tennesssey William (1911-1983) writes: « I have always written and write deeply in internal need, not for the reason, denoted by the term » professional « and sometimes it harms my career, but what is a career. become a writer. « 

The dream is dreamed

The writer’s obsession first with his creative work and only then with sex (Williams was homosexual and admitted that he was difficult to survive without touching) is a substance for many of his conversations, essays and memoirs. With this double obsession, the writer has created masterpieces that, more than forty years after his death, fill the world stage and bookshelves.

Williams’ most famous play Long tram (1947) is the seventh production of American literature by director Peter Krilov. The performance at the National Theater is the deepest respect for Williams’ text, so its quality and tension that describes this stage work. In the show, Ieva Struka writes: « The America, who inspires for creative work at the Theater in Peter Krilov, is a democratic, historical test in a relatively distant past experienced, humanly wise society that learns to treat otherwise with sensitivity. And so, in this show, such America is over, and the topicality of the show is also hidden in this agony.

Long tram There is a cruel play. In the mercy, the new America – the vital and the covers of the PODE, the simple pole Stanley Kovalsky – ground the « old » American fragile, complex humanity – the blanches, which, as a subtle silk paper in the thin and the significant past, made him enterprising against all the ugly and cruel. However, Maija Doveika Blanch is different from the poetic, broken soul blanches (1969, National Theater, director Alfreds Jaunas), and Indra Briķe’s nervous neurasthenic (2000, Daile Theater, director Valdis Liepiņš), Casy blanches (2008, Theater observatorydirected by Galina Polishchuk), both fragile, sophisticated and detached from reality, Elita Klavina Blancha, believed in her fantasies (2013, New Riga Theater, directed by Inese Mičule). And it is definitely different from Vivien Lee’s lyrical Blancha in Elijah Kazan (1951).

On the verge of perversion

Maija Doveika’s Blanch is dark. They are not just psychic, nerve disorders caused by many past deaths, it is darkness, which is the presence of a sister from early youth to Jan Lisov Stella. The most directly this darkness appears in an episode in which the blanches are kissed by a new newspaper distributor who has fallen into Stella’s home in the Blanch. Maija Doveika transmits quite or physically excitement caused by the young boy. It is in question with Stanley later telling Blanch that she was dismissed because she had an affair with a student and her own Micha The beautiful dream after sexual services.

This special, sliding dark line on the perversion border makes the blanches more harsher, more controversial than usual. The show has an episode where, without unnecessary shy blanches, it undresses and dresses in front of Stanley’s exploring eyes. This blanch is not just a victim of a collision between dreams and awkward reality, she is uncomfortable, even arrogant, contemptuously expressing Stanley at the expense of living in the NTO months. It is a bit uncomfortable to look at this blanch, and her life on the verge of abnormality is much faster than other blanches falling on the insane side. Basically, when Jacob Rein Stanley is doing what she is doing, she is no longer fully conscious, so the wrongdoing is even more cruel and terrible.

Just one technique

The world -enhanced world is the fragile beauty and icy horror, lost hope and poetic vision, animal sexuality and sophisticated perversion world. In this world, Jacob Reyn Stanley is a simple count. A normal alpha male, who is able to dominate his simple card games among partners but cannot impress the blanch, and it humiliates him. There is no Kazan movie Marlon Brando’s animal plastic, which would produce unwanted lust – he is unlocked and applied, and only the magnetic attraction, which grabs him with Jan Lysa’s stella, justifies his presence in the world of both subtle French -born nurses.

In an interview with the magazine Playboy In April 1973, Tennesssey William said: « I was » overwhelmed by « Blanch – Sweet, a demonic woman. There is a lot of everything in the tram, but there is no sadism – this is the only type of sex I do not support. We both talked at the outset,  » – and he knows what he was talking about. He had to show his superiority over this woman, and he knew only one way to do it. »

Jacob Rein Stanley’s most outstanding episode is Blanch’s « Furnish » in a psychiatric hospital in the final of the show – on the one hand, Stanley’s life continues after the injured, as usual, on the other, afraid that Stella will believe Blanchai about the stenley offense, and a bit uncomfortable, though not.

The second outstanding acting alongside Maija Deveika is Jan Lisov’s Stella. As a big sister in the shade of the big sister, she is restrained and harsh, but so loving. She has no illusions about her sister, but there is tremendous sympathy. There are divided feelings against her husband – dislike of his violent nature, but love for his physical attraction and affection. Stella is no less sensitive than a sister, but is used to controlling the world of her feelings, hiding.

Gundar Grasberg Mitch is also recorded in large letters in the actor’s role list – big, slightly clumsy, yet caring and gentle. When he is harassed to the exposed blanch, there is as much injustice and regret as the viewer himself was experiencing this harassment. Michael’s collapsed Blancha is also a painful experience that awakens anger at Stanley, which caused it all. From the mention of Uldis Anže in the final episode – his doctor, who has come to Blanch, is amazingly sensitive and good, so good that he himself raises hope that maybe Blancha, in the far hospital, will not be so bad at all…

Stella kitchen

Long tram The mood in the New Hall of the National Theater is created by the scrupulous work of stage designer and costume artist Kristine Abika. Special costumes of both sisters – blanched snow -white pants, velvet, dresses, oversized fract and diadem in mind, stella in a simple, floral dress and lower -heeled shoes. These outfits describe both sisters as well as their behavior. Simple, rough stella kitchen, which takes place in the performance of the show and also arranges the semicircular shower room, gradually gets a blanch -coveted half -dedicated, she fights lamps with paper lampshades. The work of light artist Lienīte Slišāne illuminates what Blanch wants to hide – they are no longer a youthful age – while still revealing the stunning charm of Blanch. Meanwhile, composer Alexander Thomas Matjusson not only accompanies what is happening on the piano with New Orleans typical jazz and blues, creating a slightly sultry atmosphere, but also with Kaspar Anin Steve, Stanley’s card batches like Mexican Pablo.

A clash of humanity and cruelty, human characteristics and intelligence, a collision between mental instability and a collision of healthy to weight – in such coordinates, Peter Krilov and Tennessee Williams’ heroes live in the show Long tram. Artistically, they are real psychological, even classic coordinates that hit deep in the heart, awakening compassion and empathy against other.

Long tram

In the New Hall of the National Theater 6th, 17th, 25th, 27th, 29th, 13thV 18.30
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