The house in the provocative space of Dmitry Akrish's directorial interpretations

This paper studies the creation of Dumitru Acriș, who declared himself with an individual style (a synthesis of K. Stanislavsky's Method of Physical Action, V. Meyerhold's Biomechanics, the Theater of Cruelty promoted by A. Artaud, the Physical Theater, of R. Schechner's Rasaaesthetics, ZhlobArt) and an alarming message: the world passes from the phase of slow schizophrenia to the active phase. And the horsemen of the Apocalypse are already traversing this world at full speed. His last shows make up a certain cycle, in which he transforms the plot of classical plays into a space for directorial interpretations. The reason for losing the house becomes dominant here. Moreover, the house grows to the level of generalization and is associated with the country or even the entire planet. In a provocative way, Dumitru Acriș makes us think about the tragedy of humanity, which is incapable of understanding its fatal and systemic mistakes, which can lead to a catastrophe. Civilization is mired in radical madness. Society has degraded. Family ties are lost; Fixated on their own interests, people have become indifferent to the problems of others; the search for one's own comfort destroys the laws of human coexistence; material values prevail over spiritual ones. Outside their native walls, which the characters leave forcibly or voluntarily, they are seen as unprotected, deprived of identity, disoriented. As an example, the following performances are taken: The House after Vasa Jeleznova by M. Gorky at the Satiricus I.L. Caragiale National Theatre, Chisinau, 2021; The Cherry Orchard by A.P. Chekhov at the Radu Stanca National Theatre, Sibiu, 2023; Uncle Vanea by A.P. Chekhov at the Satiricus I.L. Caragiale National Theatre, Chisinau, 2023; The Seagull by A.P. Chekhov at the Radu Stanca National Theatre, Sibiu, 2023; Ciuleandra after L. Rebreanu (dramatization by A.Roșca) at the I.D. Sârbu Dramatic Theatre, Petroșani, 2024; The Good Man of Seciuan by Bertolt Brecht at the Tony Bulandra Theatre, Târgoviște, 2024; Anna Karenina after L.Tolstoy (dramatization by A. Roșca) at the Small Theatre, Bucharest, 2024; Intrigue and love after F.Schiller at the Mihai Eminescu Theater in Botoșani, 2024. The position of playwright of the show is signed for the last five titles by Angelina Roșca. There is a certain dialogue between the shows. Therefore, Charlotta Ivanovna's question from The Cherry Orchard "Who am I?" (expressed constantly and in different ways) is an existential one that concerns everyone. And Dorn's words "How nervous you all are! How nervous!" are not only about the characters in The Seagull. And not only in the staging of The House, the characters are unable to express love and pronounce the word "I love" until the end. The remnants of this feeling are hidden deep behind emotional blockages. The heroes will not be able to cope with its terrible traumas and secrets in isolation. Some are desperately trying to open up, to ask for help. But I can't trust anyone. That is only the hands stretched out to them, apparently for help, are trap-hugs. Even Mother's Hands (The House show). And how many times does it come off your lips only "I lo..." instead of "I love you", and the body convulses (The House, Uncle Vanea). Love is replaced by fear. "Who's here?" asks Professor Serebreakov in the dark, as if trapped (Uncle Vanya). Everyone wants to run away from the excessive intensity of situations and relationships. But there is nowhere to run. The feeling of general chaos is enhanced by an accelerated, syncopated rhythm and tempo. Time passes mercilessly. It seems that death is already blowing in the back We should assume that the director often uses empty space not only because "it is the riskiest form of theatre" (Dumitru Acriș), but also because it reads like a desert of cosmic proportions scorched by human cruelty and selfishness. Here everyone rushes in a kind of Brownian motion, pushing and sweeping each other out of their heroes' necks, and until the thread of life has yet broken, they are messing around, trying to snatch a piece of happiness. Heroes exist in conditions of fierce competition. Almost everyone tries to reach a new height by climbing on the other. An expressive visual image for this is a plastic study with a chair from Uncle Vanya (when Sonia climbs higher on it, than Elena Andreevna). People achieve their desires through aggression and even cruelty. In The Seagull, Trigorin writes his works with a flamaster directly on Masha's body. In The Good Man of Seciuan, Yang Sun, after finding out that he will not see the happiness of the flight due to the fact that his fiancÉe Shen Te can no longer pay for this flight, drags her on the floor right at their wedding. To complete the mockery of Shen Te's kindness, the priest kicks the unfortunate woman. Led to the extreme degree of humiliation by Ranevskaya, Lopahin literally throws her out of the house. The director shows us the world from which God departed. Despite the widespread growth of religiosity, there is less and less true faith. At the end of the play The Good Man of Seciuan, we see on the screen the bare feet of God withdrawing. In the show The Priest House is in the family of a dying parishioner throughout the stage action. But not to console it or to alleviate the suffering of the one who will leave for the other world. His goal is to wait for his death, and then to announce to his relatives the long list of church prices for funeral services. The heroes of the play The Cherry Orchard did not justify the divine plan and, apparently, through the relationship between Ranevskaya and Lopahin, we see the story of the last woman and the last man on earth. The performances made by Dumitru Acriș are uncomfortable, shocking. He is not interested in the fable, but in the extra-fable, the essence of human relationships, the causes and consequences of the deeds committed. The essence of the relationship between the classic characters is transferred to modern reality. He adds to the performances not only new narrative connections between characters, but also new scenes. At the same time, the director does not tell the narrative lines through stage language. He accumulates emotion. All his performances are distinguished by a rich and saturated emotional palette, acute situations, pronounced struggles, clear graphic drawing, a nervous rhythm. He reveals the secret, brings the subtext into the text and into plasticity. As a rule, the director uses a compressed playing space, while expanding the space of meanings as much as possible. He often uses a shocking re-semantics of the symbols and characters of the literary material.